คู่มือทั้งหมดในหน้าเดียว

1. Getting started

From a blank sheet to your first part for the 3D printer, in five minutes, with no account and nothing to install.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

layerling is a design program for 3D printing that runs right in your browser. You build a part from simple shapes, cut holes into it, round the edges and send it to your slicer. There is nothing to install and nothing to sign up for. What you build stays on your computer.

Creating a design

Open layerling.com. On the start page click “สร้างงานออกแบบ 3D ใหม่”. The editor opens with an empty workplane, the grid on which everything takes shape.

If you already have a file to continue with, use “เปิดงานออกแบบหรือนำเข้าโมเดล”. That works for layerling designs (.lyl) as well as STL, OBJ, 3MF, STEP or SVG files.

All your designs later appear on the start page with a preview picture. They are kept in your browser's storage and saved automatically after every change, so there is no save button. layerling takes no responsibility for designs kept in the browser. A browser can fail, or a browser update can cause problems, so back up your designs from time to time with “สำรองข้อมูลทั้งหมด” on the start page, or save them as files. A backup comes back with “กู้คืนข้อมูลสำรอง”. How to pack designs into a file and pass them on is covered in Files and saving. If you would like a reminder, switch on “ถามก่อนปิดแท็บ” in the settings (the cogwheel in the ribbon): the browser then asks before a tab with an open design is closed or reloaded.

The editor at a glance

• On top is the ribbon. It is sorted by task: “คลิปบอร์ด”, “ประวัติ”, “รูปทรง”, “การแสดงผล”, “รวมชิ้น”, “สะท้อนและเรียงซ้ำ”, “ผ่าชิ้นและปรับรูปทรง”, “ขอบและผนัง”, “พื้นผิว”, “จัดวาง” and “ไฟล์”; “ช่วยเหลือ” sits above it in the title row, and the house beside the tabs leads back to the start page. When the window is too narrow for all groups, the ones used least fold into one button under their name, with a small arrow in the group's colour hanging beneath it: point at it or tap it, and its tools open beneath it. Folded “ประวัติ” is the exception: its button is “ย้อนกลับ” itself, and only the arrow beneath it opens “ทำซ้ำ” and the rest. The pin at the top right, left of the magnifying glass, keeps all groups open instead. Hover over an icon to see its name, a greyed-out one too; “ตัวช่วยแบบโต้ตอบ” (the question mark under “ช่วยเหลือ”, or Shift+F1) explains any of them with a click and leads to its section of this guide. Wherever you see a small question mark, for example in a shape's properties, in the shape library or in the tool windows, it leads straight to the matching chapter of this guide. A greyed-out icon also says what it is waiting for, such as “เลือกชิ้นงาน 1 ชิ้น”, or “ที่เลือกถูกล็อกอยู่: ปลดล็อกก่อน”. Can't find a tool? Press Ctrl+K and type its name; an empty design reminds you of this at the bottom of the view.
• In the middle lies the workplane. This is where you place shapes, pull them into form and see the result.
• On the right is the properties panel of the selected shape: colour, dimensions, position and whatever else makes up the shape. Typing numbers is more exact than dragging.
• On the left is the view bar with the view cube above it. They move you around the scene, more in View and workplane.
• Beside the view bar the object list opens (Ctrl+U), with every shape of the design. More in Select and arrange.
• To the right of the view cube the status message appears when layerling has something to tell you, such as what a tool expects from you next. When there is nothing to say, it is not there.
• Tool windows open over the workplane when you start a tool such as fillet, pattern or hollow. Drag one aside by its title bar when it covers something.
• At the very top you switch between “แก้ไข 3D” and “สเก็ตช์”, rename the design and choose language and colour scheme.

The buttons around the work area

Hover over a button to see its name. If you are not sure what a button does, click “ตัวช่วยแบบโต้ตอบ” in the “ช่วยเหลือ” area (Shift+F1) and then the button. These are the ones asked about most.

Paste

“วาง” (Ctrl+V) adds what you copied with “คัดลอก” to the design. “ทำสำเนา” copies and pastes in one step. A paste puts each part a little beside where it was. Parts that come from another program can land far from the plate, and for those there is “วางตรงกลางแล้วปล่อยลง” in the settings, under “หน้าตา”: a paste then sets the parts together in the middle of the workplane and drops them onto it.

Delete

“ลบ” (Delete) removes the selected shapes. “ย้อนกลับ” brings them back.

Ungroup

“แยกกลุ่ม” (Ctrl+Shift+G) takes the selected group apart again into the shapes it was made of.

Workspace settings

“ตั้งค่าพื้นที่ทำงาน” opens the settings of the work area: unit, size of the plate, printer, grid, colours, light and more. More in View and workplane.

Theme

“ธีม” at the very top chooses how layerling looks: as your system, light, dark or graphite.

Rename design

“เปลี่ยนชื่องานออกแบบ”: the pencil beside the name at the very top. Type the new name and press Enter.

Design name

The name of the design (“ชื่องานออกแบบ”) stands at the very top. Click it, type, and Enter keeps the name.

Visibility options

“ตัวเลือกการแสดงผล”, the arrow beside the eye icon, holds what you can show or hide: the list of objects, everything you hid, the notes and the overhangs of the print. More in Select and arrange.

Hide selected

“ซ่อนที่เลือก” (Ctrl+H) hides the selected shapes. They stay in the design and in the object list; “ตัวเลือกการแสดงผล” shows them again.

Search commands

“ค้นหาคำสั่ง (Ctrl+K)”: type what you look for, a tool, a shape or a setting, and click the result.

Hide the view bar

“ซ่อนแถบมุมมอง” folds the view bar on the left away and gives the work area more room; “แสดงแถบมุมมอง” brings them back.

Snap Grid

“กริดจับ”, at the bottom of the properties, is the step that moving and resizing snaps to. Beside it the small switch mm | in changes the unit. More in View and workplane.

Unit: millimetres or inches

The switch mm | in beside “กริดจับ” changes the unit, the plate's grid and the snap step, for this design.

The footer

At the foot of the window: “สนับสนุนโปรเจกต์” leads to the page where you can support the project; “คู่มือการใช้งาน” opens this guide; “กระดานพูดคุย” leads to the place for questions, ideas and bug reports (the discussions on GitHub, in German the forum of drucktipps3d); “รายงานบั๊ก” makes a ZIP for a bug report; “ดูเพิ่มเติมบน GitHub” leads to the project on GitHub, and the version number opens the release notes. The links to the imprint and the privacy policy belong to whoever runs the copy of layerling you use.

Focus mode

On a small screen, “โหมดโฟกัส” gives the title row and the footer to the work: the button with the two arrows pointing outwards at the top right, Ctrl+Shift+F or the command search switch it on. The ribbon moves up and the view reaches down to the edge of the window. A small bar below the ribbon keeps the house for the start page, the tabs “แก้ไข 3D” and “สเก็ตช์”, the magnifying glass, the settings and the button with the two arrows pointing inwards, which ends focus mode; drag the bar by its grip to another spot, a double click on the grip puts it back. layerling remembers the choice in this browser, and while the browser fills the whole screen (F11) it switches to focus mode by itself.

Your first part

As an example, we build a cube with a hole.

1. Click “เพิ่มรูปทรง” in the ribbon and pick “กล่อง”. The shape now hangs on your mouse pointer. A click on the workplane sets it down.
2. On the right, set the dimensions, for example 40 mm long, 40 mm wide and 20 mm high.
3. Place a “ทรงกระบอก” in the middle the same way, 14 mm across and 30 mm high. It should be taller than the cube so it reaches all the way through.
4. Select the cylinder and click “ชิ้นเจาะรู” on the right. It turns see-through: the solid has become a tool that takes material away.
5. Select both shapes and click “รวมกลุ่ม”. The cube now has a hole.

This is how bores, slots and pockets are made. The chapter Solids and holes explains it in detail.

New since your last visit

When you open layerling again after an update, a card on the start page lists what has been added since you were last here: every version since then, the newest first. After a long absence you scroll down inside the card. Below them, “ดูเวอร์ชันก่อนหน้า” adds the versions from before your last visit too. Close it with “รับทราบ” and it stays away until the next update. “มีอะไรใหม่?” in the footer of the start page shows the latest additions again at any time. In the editor, the “มีอะไรใหม่?” button next to “คู่มือฉบับย่อ” at the top right, or the command search, opens the same list; it stays open beside your design while you try out what is new. The browser remembers the last version you saw, and nothing about you leaves it.

On a copy of layerling on your own computer or server, the notice "Update available" has a button, “ดูตัวอย่าง: อัปเดตนี้มีอะไรใหม่?”, that lists what the update brings before you install it. The list is fetched from GitHub only when you press the button.

From design to print

When your part is done, click “ส่งออก”, choose STL or 3MF and download the file. Open it in your slicer, for example Bambu Studio, PrusaSlicer, OrcaSlicer or Cura. If you choose your printer in the settings, you can see while building whether the part fits on the print bed. More in Printing.

2. View and workplane

Moving around the scene, looking straight on, and placing new shapes on any surface you like.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Moving around

With the mouse:

How fast the wheel zooms is set with “ความเร็วซูม” in the settings, under “หน้าตา”: a slider from 1 to 14, 5 to begin with. It sets the wheel and the trackpad only: the buttons and the keys + and − always zoom in the same small steps. One notch of a mouse wheel zooms alike in every browser, a trackpad zooms with how far you stroke. “ความเร็วเลื่อนมุมมอง” below it sets how fast the view follows the mouse when you shift it, a slider from 1 to 9: at 5, where it begins, the point you grab stays under the cursor.

Mouse buttons as in your slicer. If you are used to Bambu Studio or OrcaSlicer, set “ปุ่มเมาส์” in the settings, under “หน้าตา”, to “แบบ Bambu Studio และ OrcaSlicer”. A left drag on empty space then turns the view, the right button shifts it as the middle one does, and Shift with a left drag draws the selection box. A drag on a body still moves it, and a short right click still opens the menu. In a sketch the right button shifts the view too.

3D mouse. A SpaceMouse or another 3D mouse turns, shifts and zooms the 3D view: push the cap away to zoom in, slide it to shift the view, tilt it to tilt the view and twist it to turn the view round. In the settings, under “หน้าตา”, click “เชื่อมต่อเมาส์ 3D” and choose the device in the window the browser opens; it remembers the choice, so this is needed only once. This works in Chrome and Edge, which can reach such devices; Firefox and Safari cannot. If a direction feels the wrong way round, tick it under the button: shifting sideways, shifting up and down, zooming, tilting or twisting.

On a tablet or phone, two fingers zoom (spread and pinch) and move the view (slide together). One finger on empty space turns the view, and a tap there clears the selection; on a shape or a handle it works on the design, just like the left mouse button. To turn the view with a finger that starts on a shape too, switch on “หมุนมุมมองด้วยนิ้วเดียว” in the view bar. That switch shows on devices with a touch screen.

A graphics tablet with a pen behaves like a mouse: the tip is the left button, the barrel button on the pen the right one, for turning the view and for the menu. The tablet's hotkeys can be set in its driver to layerling's keyboard shortcuts.

On a tablet, work with a stylus if you can. Its tip is far finer than a fingertip and does not cover what you aim at, so small points, thin lines and handles in a sketch, measuring points and edges are hit exactly, and longer work is less tiring. layerling already lets a finger reach a little further to points, lines, handles and edges than a mouse pointer does, but a stylus remains the more precise way. This holds for a pen that the tablet knows as a pen (an S Pen, an Apple Pencil and the like). A plain stylus with a rubber tip counts as a finger for the screen and is not finer than one.

There is no right mouse button on a tablet: hold a finger still on a shape or on empty space for half a second, and the menu opens that a right click opens, with Select all on empty space. Select multiple in the same menu stands in for Shift on a tablet: each tap on a body then adds it to the selection or takes it out again, until you tap empty space or press Esc; a finger on empty space still turns the view. The handles around a selected shape can be caught by a finger from a little beside them.

The view cube

The cube in the top left shows where you are looking. A click on one of its sides jumps to the straight view from top, bottom, front, back, left or right. A click on a corner of the cube looks at the model diagonally from that corner, and a click near an edge looks from that edge, between two sides; the spot lights up while the pointer is on it. The number keys 1 to 6 give the straight views too. Hold Shift with them and the view also zooms to the selection, as Shift+F does.

Drag the cube to turn the view around, just like dragging with the right mouse button. With nothing selected, the arrow keys turn the view as well: 15° a press, 90° with Shift. They turn the model the way they point - → turns its front to the right, ↑ tilts its front upwards. With Ctrl held, the arrows slide the view across the screen instead: a tenth of the picture a press, half of it with Shift as well. The model moves the way they point. If something is selected, the arrows move it; click on empty space first to turn the view. On a touch screen this works with one finger, without switching on “หมุนมุมมองด้วยนิ้วเดียว”.

The view bar

At the left edge is a narrow bar. From the top:

• “มุมมองเริ่มต้น” brings the whole scene back into view. The key is Home; F does it too when nothing is selected.
• “จัดมุมมองให้ที่เลือกอยู่ตรงกลาง” zooms to the selection (F or Shift+F); with nothing selected it brings the whole scene into view, as F does.
• “ซูมเข้า” and “ซูมออก” zoom step by step, as do the keys + and −.
• “มุมมองแบบออร์โธกราฟิก (ไม่มีระยะลึก)” switches to a flat view in which parallel edges stay parallel. For measuring and lining up edges that is often more comfortable than the perspective view. O switches back and forth, and a second click returns.
• “เปิดมุมมองที่สอง” opens a second view of the design in a window of its own, described below. A second click closes it.
• “แสดงแถบเลื่อน” puts a scrollbar along the bottom of the view and one down its right edge. Drag a bar to slide the view smoothly, click an arrow at its end to move it a little (hold it to keep going), or click beside the bar to move by most of the view. Nothing turns, and unlike the arrow keys the bars work while a part is selected - handy close up on small details. A second click hides them; “เปิดหน้าแก้ไขพร้อมแถบเลื่อน” in the settings decides whether a design opens with them. This browser also remembers the switch.
• “ซ่อนพื้นงาน” (the eye over a grid) hides the plate with its grid, so you can look at the underside of a design from below. Only the view changes: new shapes still land on the workplane. A second click shows it again.
• “วางพื้นงาน”, the tape measure and the framing square are tools of their own, covered below and in Measuring and notes.

The small arrow at the very top of the bar hides it if it gets in the way. That same button, dragged, moves the bar anywhere in the editor, in a sketch too; a double click puts it back. The 3D preview of a revolved sketch moves by its title in the same way.

A design opens the way you left it: the angle, zoom and position of the view are kept with it in this browser, so you continue where you stopped, also after going Home or closing the page. A saved file (.lyl) carries the view along, so it opens in it elsewhere too. The view is not part of the undo history.

You can also keep four views of your own in each design. Shift+7, Shift+8, Shift+9 or Shift+0 saves the view exactly as it is - angle, position, zoom, and flat or perspective - under that key, and the key alone (7, 8, 9 or 0) brings it back. A message at the bottom confirms the save; saving again under the same key replaces the view. Like the view above, the saved views stay with the design in this browser and travel in a saved file (.lyl), and they are not part of the undo history.

A second view in its own window

“เปิดมุมมองที่สอง” opens a window that shows the same design through a camera of its own, so you can see it from two sides at once - from the front, say, while you work from above. Every change you make in the editor shows there straight away; the design is only changed in the main window, and the handles stay there too. In the second window the mouse and the view cube turn its view as they do here, and so do the keys: 1 to 6, F, Home, O, + and −, the arrow keys to turn and Ctrl with the arrows to slide. F there zooms to what is selected in the editor. The design's four saved views work there too: 7, 8, 9 and 0 bring them back, and Shift with one of these keys saves that window's view under it - for both windows. Its own view bar has “มุมมองเริ่มต้น”, “จัดมุมมองให้ที่เลือกอยู่ตรงกลาง”, “ซูมเข้า”, “ซูมออก”, “มุมมองแบบออร์โธกราฟิก (ไม่มีระยะลึก)” and “ซ่อนพื้นงาน”, and they act on that window alone. The window opens where you left it, at the same size, and closes with the editor. On phones and tablets the button is not shown.

Looking inside: the section view

“มุมมองหน้าตัด”, the last button in the bar (the cut tool), cuts the view open along a plane so you can check walls, cavities and parts that fit into each other. Nothing is cut for real: the design, its files and every export stay whole. Where the plane goes through a solid, the cut is filled with the colour of the body a little darker, and a hole inside it stays empty, so you can tell solid from hollow; the filled face appears a moment after the plane stops moving. Under “หน้าตัด” you choose how the cut looks: “แรเงาเส้น”, the start, hatches it like a drawing, and a body that lies inside another is hatched the other way, so the two stand apart; “เติมสี” fills it plain; “เปิดโล่ง” leaves it open, and you look into the skin of the body. The choice holds for every design.

• Choose the axis the plane stands across: X (width), Y (depth) or Z (height), as in the position fields. The plane starts in the middle of your design.
• “แกนอ้างอิงจาก” sets what these axes follow. “งานออกแบบ” takes the design's axes. “พื้นงาน” takes the workplane's: Z then cuts parallel to it, X and Y square to it, and the position counts from its origin. With the workplane on a sloped face you cut parallel to that face, and the cut moves along when you move the workplane. “มุมมอง” turns the plane to face the screen: it takes away what lies in front, and the slider pushes it deeper into the design along your line of sight, for example to reach a buried part and click it. After turning the view, click it again and the cut follows the new view.
• “หยาบ” moves the plane across the whole design, “ละเอียด” moves it a little either side of where it stands, for tenths of a millimetre. You can also type the position.
• The button beside the axes shows the other side of the cut, “จัดกึ่งกลาง” puts the plane back in the middle, and “แสดงระนาบตัด” hides the blue plane.
• You can click and select what the cut lays open, inner walls included.
• “วางพื้นงานตรงนี้” puts the workplane on the cut. It lies on the plane of the section and faces out of the body that stays, like the face a cut leaves. If you then switch to the sketch, it starts exactly there, and the faint outline shows the cut, which you can draw along and snap to. That is how you sketch a lid that fits the cavity you opened with the section, for example. The button beside the axes chooses which side stays, and with it which way the workplane faces. You put the workplane back on the base plate as usual.
• “สเก็ตช์จากหน้าตัด” starts a new sketch right on the cut, with the cut's outlines already in it as lines: a hole comes in as a true circle, a rounded corner as an arc. Change them, delete what you don't need, draw more, and finish: the body grows out of the cut towards the side that is cut away, so a part that has to fit another one, such as a lid, an insert or a gasket, starts from that part's own outline. The button beside the axes chooses that side. As for the SVG, only visible bodies count and holes are already taken off.
• “วัด” measures right on the cut: the outline shows in blue, and two clicks on it give the distance, plus its parts along the plane's two axes. Both points snap to the outline, corners first. When the second click lands anywhere on the opposite wall, it snaps square to the first point - so you read wall thickness, gaps and clearance without aiming exactly. A third click starts the next measurement, Esc ends measuring. Moving the plane clears the measurement. On a round outline, such as the cut through a cylinder or a hole, a small cross marks the centre and the centre snaps too. Click a point on the circle, then go near the point across from it: the second click lands exactly across the centre, and the number reads Ø, the diameter. From the centre to a point on the circle you get R, the radius.
• “หน้าตัดเป็น SVG” saves the outlines on the cutting plane as an SVG at 1:1, for a laser, a plotter, a template or a gasket. An X cut is seen from the right, a Y cut from the front, a Z cut from above. As in the export, only visible bodies go in, holes are already taken off, and bodies of the same colour are joined into one outline. Each colour stays its own path without a fill, so laser software keeps them apart as layers.

The tool window hangs on its button. If it covers something, drag it by its title bar anywhere on the workplane; it opens there next time too. Double-click the title bar or drop it at the button to put it back.

The X and Esc close the tool window; with a measuring running, Esc ends it first. The cut stays until you switch it off with “เปิดหน้าตัดอยู่”, click its button in the bar while the window is open, or go back to the design overview. While it is on, its button stays highlighted. Anything you place on the side that is cut away only shows once you switch the cut off. A tablet has no Esc, so there the tool window has two more buttons: “ย้อนกลับ” ends the measuring if one is running and otherwise closes the tool window, and “ปิด” closes the tool window in one step. A computer does not show them.

The workplane

New shapes align with the workplane. At first that is the base plate with the grid. But you can put it on any surface, to place something on a side or a sloped face.

1. Press W or click “วางพื้นงาน”.
2. Move the mouse over a face of a body. It lights up.
3. A click puts the workplane there. Everything you add now sits on that face.

Click on the empty plate instead, and the workplane lies flat at the spot you clicked, on the snap grid. New shapes and a finished sketch, a revolved one too, then appear there rather than in the middle of the plate. While the workplane lies flat on the plate like this, the plate shows only its outline: two grids in the same plane would make a flickering pattern.

On a face the origin of the workplane otherwise snaps to the grid. Click close to a corner of the face and it sits exactly on that corner. Close to an edge it lies on the edge, and the grid lines up with it; that is how you choose the angle of the grid on purpose. Without a corner or an edge, the grid on a lying face runs parallel to the body, so on a turned box it is turned with it.

A click beside the plate or Esc returns the workplane to the base plate. Quicker still is “ย้ายพื้นงานกลับไปที่แผ่นฐาน”: the button with the downward arrow sits in the view bar below the eye while the workplane lies on a face. Shift+W puts it directly on the currently selected face. Alt+W puts it back on the base plate at any time, whether something is selected or not. If you hold Shift while clicking, the plane points the other way.

While a workplane sits on a face, an eye appears next to “วางพื้นงาน”. It hides the workplane without dropping it, for a clear look at the design: new shapes still land on that face, and rotating still turns about it. A click on the eye shows it again, and so does setting a new workplane. A box's size handles follow a workplane that stands on one of its sides too: the corner and edge handles lie on that face, and each one changes the box's own width, length or height that runs along it. The handle in the middle of the face changes the size across it.

To look straight at the workplane, press P or click “มองตรงลงบนพื้นงาน” next to “วางพื้นงาน” in the view bar. The view turns until you see the workplane square, from the side new shapes grow towards, with its origin in the middle. On the base plate that is the view from above.

Build plates

When a design holds more than one plate can print, a box with its lid and inserts for example, it can have several build plates. Click “ฐานพิมพ์” in the “จัดวาง” group, or choose “ย้ายไปฐานพิมพ์…” in the menu of a right click on a body. A bar appears at the foot of the view with one button per plate; the number on it says how many bodies stand on the plate.

• Every plate is as large as the workplane, and the plates lie side by side to the right of the first one, 20 mm apart. A body belongs to the plate the middle of its footprint stands on, so dragging it across puts it on the other plate. A design holds up to 12 plates.
• A click on a plate in the bar looks at it, and new shapes and imported files then land on it. “แสดงฐานพิมพ์ทั้งหมด” looks at all of them. A double click on a plate, or “เปลี่ยนชื่อฐานพิมพ์”, gives it a name such as "Lid", which is written on the plate.
• A new sketch on the plate starts on the active plate too: the sketch area shows that plate with the bodies on it, and the finished body stands there.
• “ย้ายฐานพิมพ์ไปทางซ้าย” and “ย้ายฐานพิมพ์ไปทางขวา” change the order, the bodies moving with their plate. “ลบฐานพิมพ์ (ชิ้นงานบนแผ่นนี้จะย้ายไปแผ่นแรก)” takes the active plate away; its bodies go onto the first plate at the same spot.
• “จัดวางบนฐานพิมพ์” lays the selected bodies, or all of them, out row by row on the plates, the largest first, 5 mm apart, and adds plates while they are needed. A body larger than a plate stays where it is.
• With a printer chosen, every body is checked against its own plate, and the build height counts from the lowest body on that plate. A plate with a body that does not fit shows its number in red.
• In the properties, X counts from the middle of the body's own plate.

The export window then offers “ฐานพิมพ์”: all plates in one file, side by side as in the design; one file per plate, packed in a ZIP (STL, 3MF and OBJ); or a single plate, set where the first plate is. A slicer opens every file as one plate, so to print the plates one after another, take the files per plate. Moving bodies between plates and arranging them can be undone; adding, naming, ordering and removing plates is kept with the design but not undone.

Grid and snapping

The grid shows the size of the plate. At the bottom right is the snap step: moving and scaling snap in steps of that size, for example 1 mm. Make it smaller for fine work and larger for rough arranging. “จับกริด” in the ribbon moves the selected shapes afterwards onto the nearest grid crossing. While moving, shapes also snap to other shapes, see Selecting and arranging. Without the mouse: Alt+1 to Alt+0 pick that entry of the menu (Alt+1 turns snapping off), and , and . make the step one size finer or coarser. This works in a sketch too. A short click with the middle mouse button, without moving the mouse, opens the snap step menu right at the pointer, in a sketch too; holding the middle button and dragging still moves the view.

The settings window

The cogwheel in the title row (“ตั้งค่าพื้นที่ทำงาน”) opens the settings. On the left are five areas: “หน้าตา”, “การวัด”, “พื้นงาน”, “ค่าเริ่มต้นของรูปทรง” and “ประวัติ”. A change counts at once. “ตั้งเป็นค่าเริ่มต้น” at the bottom saves the current settings as the default, so that a new design starts with them. A file you open brings its own settings; “ใช้ค่าเริ่มต้นของฉัน” next to it puts your saved colours, grid and the rest on the open design, keeping its units. If your default has a printer, that printer comes along with its plate size; without one the design keeps its plate and printer. “ปิดตั้งค่า” at the top right closes the window. This part goes through the settings one by one.

“ส่งออกตั้งค่า” next to it saves the settings of the window in a file (layerling-settings-<date>.json): the colours, grid, shadows, camera and shape defaults, together with the theme, toolbar size, view cube corner, shape colours and the play of each printer. On another computer, or after the browser lost its data, “นำเข้าตั้งค่า” reads the file again: it becomes your default for new designs and goes onto the open design like “ใช้ค่าเริ่มต้นของฉัน”. Your own keys from the keyboard shortcuts go along too.

Appearance: theme, toolbar and view cube

“ธีม” sets the colour scheme of the whole program: “ตามระบบ” follows your computer, the others are “สว่าง”, “มืด” and “กราไฟต์ (มืดโทนกลาง)”. You can also change it at the top right of the editor.

“ขนาดปุ่มควบคุม” makes the buttons of the ribbon on top, its shape menu, the view bar on the left and the properties panel on the right smaller or larger: “เล็ก”, “กลาง” (as it always was) or “ใหญ่”. Small leaves more room for the workplane on a laptop; large is easier to hit on a big screen or with a finger. With large buttons the groups of the ribbon go onto a second row when the window is too narrow for them. The size sits in the “แถบเครื่องมือ” tab of the settings, is kept in this browser and holds for every design.

“รูปทรงแบบมีสี” puts the colour a new shape starts with on the pictures of the shape library (the colour of its kind, or the one you saved with “บันทึกเป็นค่าเริ่มต้น”). Switch it off if you prefer grey pictures; your browser remembers the choice.

“ตำแหน่งลูกบาศก์มุมมอง” puts the view cube in another corner of the workplane: “บนซ้าย” (as it always was), “บนขวา”, “ล่างซ้าย” or “ล่างขวา”. In any corner but the top left, the view bar moves up into the spot the cube left. In the bottom right the cube stands just above the “กริดจับ” control. While the properties of a shape are open on the right, a cube on the right steps to the left of them. The corner is kept in this browser and holds for every design. On a narrow window, such as a phone, the setting is hidden and the cube stays in the top left.

Appearance: buttons in the ribbon

“ปุ่มบนแถบเครื่องมือ” takes the groups and buttons you never use out of the ribbon. Click a group to open its list: “แสดงกลุ่มนี้” takes the whole group out, the tick next to a button just that button. “แสดงทั้งหมด” brings everything back. A group with no button left disappears and the others move up, so more of the ribbon fits in one row.

What you take out only leaves the ribbon: the command search (Ctrl+K) still finds it, and its key still runs it. The arrows next to a group move it up or down the list, and so along the ribbon; “รีเซ็ตลำดับ” brings back the order it came with. The arrows beside a button move it the same way inside its group. Help always stays. The Shapes group moves and can be taken out like any other; its panel still opens from the command search. The choice is kept in this browser and goes into the file of “ส่งออกตั้งค่า”. It applies to the 3D editor; the sketch has a bar of its own.

“การพับเก็บ”, below “แสดงกลุ่มนี้” in a group's list, sets what the group does when the window has no room for all of them. “เมื่อที่ไม่พอ” is how it comes: the groups used least fold first. “พับเก็บเสมอ” keeps the group folded into its one button even in a wide window, so it takes little room and is still at hand. “เปิดค้างไว้” lets it fold only after all the others. “รีเซ็ตลำดับ” brings back this choice too. “สะท้อนและเรียงซ้ำ”, “ผ่าชิ้นและปรับรูปทรง”, “ขอบและผนัง” and “พื้นผิว” are four groups of their own: each moves, folds and can be taken out by itself.

Appearance: fast mode

“โหมดเร็ว” is for slower computers. It turns off shadows, edge lines on all bodies and the camera's inertia, and draws the view at screen resolution only. Your own settings are kept for later, and the switches it overrides say “ปิดอยู่ในโหมดเร็ว” while it is on. More about what helps on a slow computer is under "When layerling feels slow" below.

Appearance: colours of the work area and the sketch

The colours of the work area are set under “หน้าตา”: “พื้นหลังหน้าต่าง (ธีมสว่าง)” and “พื้นงานใต้กริด (ธีมสว่าง)” for the light theme (the dark themes keep their own), next to the grid colour under “พื้นงาน”. Each colour is a button that shows the colour. A click opens a small window with the colour field, a row of ready colours, a field for the hex value and an arrow that puts the colour back to what layerling started with. Enter takes a typed hex value, and so does a click outside the window.

The sketch view has its own colours: “สเก็ตช์: พื้นหลังหน้าต่าง (ธีมสว่าง)” for the window round the sheet, “สเก็ตช์: พื้นที่ใต้กริด (ธีมสว่าง)” for the sheet under the grid, and “สเก็ตช์: สีกริด (ธีมสว่าง)”, all for the light theme. “ให้สเก็ตช์เหมือนพื้นที่ทำงาน” takes over the work area's three colours in one click.

“หน้าตาแบบคลาสสิก” sets the work area up as Tinkercad shows it: white ground, a pale blue millimetre grid with a darker line every centimetre, black edge lines, light from above with soft shadows. Every value can still be changed on its own afterwards. All of them start as layerling always looked, and what suits you depends on your monitor.

Appearance: axis arrows and edge lines

“ลูกศรแกน” (on by default) draws three arrows at the back left corner of the plate: X in red to the right, Y in green to the back and Z in blue upwards, the way the position fields count. That is the right-hand rule Tinkercad, CAD programs and the slicers use too. With the workplane on a face they follow it. Switch them off here if they are in your way.

“เส้นขอบบนชิ้นงานทุกชิ้น” draws an outline on every body, in the colour of “สีเส้นขอบ” (black to begin with, as in Tinkercad): it helps when dark colours run into each other. It is off by default, and very large imported meshes are left out.

“แสดงชิ้นเจาะรูให้ชัดขึ้น” draws holes in a darker grey, less see-through and with a dark line round them. It helps when a hole is hard to find among see-through bodies. Unlike the edge lines it stays on in fast mode.

“ความทึบของชิ้นเจาะรู” below it sets how solid holes are drawn, from 10 to 90 percent. Lower lets you see better where a hole meets a body. At first it is automatic: 52 percent, or 72 with “แสดงชิ้นเจาะรูให้ชัดขึ้น”; a double-click on the slider goes back to that.

Appearance: light and shadows

“แสดงเงา” switches the cast shadows on and off. Two sliders set how the bodies are lit. “ความเข้มเงา” says how dark the cast shadows are, and “คอนทราสต์ของแสงเงา” moves light from the even ambient light to the main light: towards "punchy" the shaded sides get darker and the shadows show more, towards "soft" everything gets flatter. At the top end the contrast gets very strong, so shaded sides and shadows turn really dark. “ความนุ่มของเงา” makes the edges of the shadows soft instead of crisp. “ทิศทางแสง” turns the main light round the plate (0° from the front, 90° from the right), and “ความสูงของแสง” lifts it; at 90° it stands straight above the plate as in Tinkercad, and the shadows fall right under the bodies. “แสงนุ่ม” brings most of the light from where you look, turning with the view: no face is left dark, and a face of a dark colour that points up is no longer burnt out to white. The main light stays a little for the shadows, and the contrast slider still works. If a bright reflection still shows with the light set low, lift “ความสูงของแสง” to 90°: it then looks like Tinkercad. “รีเซ็ตแสงและเงา” puts everything back.

Appearance: measures on the workplane

“แสดงขนาดระยะเคลื่อนย้าย” shows by how much you move while dragging or with the arrow keys, “แสดงระยะจากจุดกำเนิด” the distances of the selection to the origin of the plate, also with several bodies selected. With “แสดงขนาดตลอดเวลา” these measures stay visible permanently, and not only while you drag. While a turned body is selected, its angles show below it on the workplane; “แสดงมุมของชิ้นงานที่หมุนไว้” switches that off. More in Measuring and notes.

Appearance: selecting and moving

“เลือกก่อนแล้วค่อยย้าย”: a body then has to be selected first, and only the next drag moves it. That helps when children or hurried hands touch bodies, and on a touch screen.

“ทิศทางการลากกรอบเป็นตัวกำหนด”: a frame dragged to the right selects only what lies completely inside it, one dragged to the left everything it touches (drawn dashed), as in SketchUp.

“ดับเบิลคลิกเพื่อเปิดสเก็ตช์” decides whether a double click on an extruded sketch opens the sketch again, as in Tinkercad, and “ดับเบิลคลิกเพื่อเปิดกลุ่มหรือชุด” whether a double click on a group or a bundle opens it for editing. “ดับเบิลคลิกบนพื้นงานเพื่อจัดมุมมองให้อยู่ตรงนั้น” decides whether a double click on empty workplane moves the view to that spot.

“จับติดรูปทรงอื่นขณะย้ายและปรับขนาด” lets the edges and the centre of a shape snap to other shapes while you drag it; the grid menu at the bottom right has the same switch. “วางเกาะผิวรูปทรงอื่นเมื่อเพิ่มรูปทรงใหม่” makes a new shape hang on the mouse pointer and land on the face under it, like Cruise in Tinkercad; switched off, a new shape appears in the middle of the plate. More in Selecting and arranging.

Appearance: the view

“เปิดหน้าแก้ไขด้วยมุมมองแบบเพอร์สเปกทีฟ”: the editor then opens in the perspective view, not in the flat one.

“เปิดหน้าแก้ไขพร้อมแถบเลื่อน”: a design then opens with the view's scrollbars shown. It is saved with the design and with “ตั้งเป็นค่าเริ่มต้น”.

“เปิดแถบมุมมองเมื่อเอาเมาส์ชี้”: a view bar folded away opens while the mouse is over its arrow and folds again shortly after the mouse has left it, unless one of its tools is in use. A click on the arrow while it is open like this keeps it open. It works with the mouse only; on a touch screen a tap opens the bar as before.

“มุมมองเริ่มต้น” sets the angle a new design opens in and “มุมมองเริ่มต้น” goes back to. Turn and zoom the view the way you like it, then click “ใช้มุมมองปัจจุบัน”; “มาตรฐาน” brings back the usual view from the front right. It holds for every design in this browser. A design you open again still opens the way you left it.

“ความเร็วซูม” is a slider from slow to fast: how fast the wheel and the trackpad zoom; the zoom buttons and keys keep their own small steps. “ความเร็วเลื่อนมุมมอง” is a slider from slow to fast too: how fast the view follows the mouse when you shift it; in the middle the point you grab stays under the cursor. “กล้องหมุนต่อหลังปล่อย”: after you let go of the mouse the view turns or shifts on for a moment and slows down gently. Switched off, it stops at once, as in Tinkercad and Fusion 360.

“ทำเครื่องหมายส่วนยื่นตั้งแต่ {angle}°” is the angle from which a face counts as an overhang when you switch on Show overhangs in the visibility menu: those faces are hatched red and white. 30° is careful, 70° counts on good cooling of the print; 45° is the usual start. While they are shown, a line under the view says the steepest overhang and how many cm² need supports.

“ตัดเมชที่นำเข้าได้ไม่เกิน” limits how many triangles an imported mesh may have when you cut, merge or intersect it, because that is calculated in your browser. A mesh above the limit is not processed; simplify the mesh first, or raise the limit if your computer can take it. A higher limit can freeze the editor for a few seconds.

Measurement: units, scale and snap steps

Under “การวัด” you set the “หน่วย”, the unit that measures are shown in (“สเกล”: millimetres, centimetres or metres in metric, inches or feet in imperial), how many decimal places a number shows (“ความแม่นยำ”), the “กริดจับ” that moving and resizing snap to and your own snap steps under “กริดจับแบบกำหนดเอง”.

Under “การวัด” in the settings you set the “หน่วย”. With “อิมพีเรียล”, layerling shows every measure in inches, on the shape, in the properties panel, on the tape measure and the ruler. The snap grid then offers steps from 1/64 to 1 inch, and the grid on the plate is drawn in inches (1/8 to 1 inch, 1/4 inch by default) with a stronger line on every whole inch. Under “แสดงนิ้วเป็น” you choose whether inches appear as fractions like in Tinkercad (1 5/8, rounded to 1/64 inch) or as decimals (1.625) with as many decimal places as set under “ความแม่นยำ”. You can type either, "1 5/8" included. A quick way between millimetres and inches is the small switch mm | in beside the “กริดจับ” at the bottom of the properties window: it changes the unit, the plate's grid and the snap step as the settings do, for this design.

Under “กริดจับแบบกำหนดเอง” in the same place you add snap steps of your own: a name and a size in millimetres, for example "Pin pitch 2.54 mm" for the spacing of DIP chips, pin headers and perfboard holes, or "MX Key Unit" with 19.05 mm for the spacing of keyboard keys. The snap step menu then offers that measure whole, halved and quartered (1 ×, ½ × and ¼ ×), so shapes can be moved by one pitch, half a pitch or a quarter pitch. If you want just the measure itself, untick “ครึ่งและหนึ่งในสี่ด้วย” beside it; the menu then has only that one step. Custom steps are kept with the design and go along with “ตั้งเป็นค่าเริ่มต้น”.

“เริ่มงานออกแบบใหม่พร้อมไม้ฉากที่จุดกำเนิด”: every new design in this browser then starts with a framing square at the origin, see Measuring and notes. Designs you already have stay as they are, and a square you remove from a design stays removed.

Workplane: plate and printer

“เครื่องพิมพ์” sizes the workplane to the build plate of your printer and flags bodies that reach past it, see Printing. “ป้ายชื่อบนฐาน” writes the design's name on the plate, and the printer's name and build volume when a printer is chosen.

“ระยะเผื่อของเครื่องพิมพ์” is the room per side a printed pin needs to turn in a printed hole on your printer. “สร้างชิ้นทดสอบความพอดี” puts the fit test that measures it on the plate, and new lids, dovetails, snap-fits, nuts and the clearance check then start from it, see Printing. It is kept in this browser, not in the design.

“ขนาดพื้นงาน” gives the plate a size of your own, with “กว้าง” and “ยาว” in millimetres or the unit you chose. The grid always runs through the origin, so the stronger lines lie on the axes whatever the plate measures.

Workplane: grid

“แสดงกริด” shows or hides the grid on the plate. “ขนาดช่องกริด” sets the spacing of its lines, and “เส้นกริดเข้มทุกๆ” whether the darker line comes every 5 or every 10 grid steps; “สีเส้นเข้ม” gives that line a colour of its own, and the centre cross and the plate border take it too. “สีกริด” is the colour of the ordinary lines.

Every line of the grid grows wider as you zoom in, as in Tinkercad, and stays visible as you zoom out. If that is too much for you, switch off “เส้นกริดหนาขึ้นเมื่อซูม” and the lines stay one pixel wide at every zoom, as in the sketch.

If the grid has disappeared, say because a colour was set to that of the plate, “รีเซ็ตกริด” at the end of the “พื้นงาน” area brings its visibility, colours, spacing and line weight back to the standard, here and in the default saved with “ตั้งเป็นค่าเริ่มต้น”.

Shape defaults

Under “ค่าเริ่มต้นของรูปทรง” you choose a shape with “รูปทรง” and set how it starts when you add it: its width, length and height. “ใช้ค่าเริ่มต้นของแอป” takes the shape back to what the app starts it with. Shapes with settings of their own show them under “รายละเอียดรูปทรง”. The values apply to new shapes, not to those already on the plate. “จำกัดขนาดเอง” sets a ceiling of your own for how large the handles and the properties may make that shape; left blank, the usual limits stay.

Saved history

Under “ประวัติ” the slider “ประวัติที่บันทึก” sets how many completed actions stay available for Undo after you save or reopen a design. The default is 100 actions in a design. A lower limit permanently discards the older undo steps of the design.

When layerling feels slow

layerling calculates and draws everything in your browser. On an older computer, with a weak graphics card or on several large screens the view can therefore feel sluggish. This helps:

• “โหมดเร็ว” under “หน้าตา” turns off at once everything that costs the view a lot: shadows, edge lines on all bodies and the camera's inertia. It also draws the view at the screen's own resolution only, which on high-resolution screens is up to four times fewer pixels. Your own settings are kept and apply again as soon as you turn it off.
• The camera keeps turning: When you let go of the mouse after turning, the view turns on for a moment and slows down gently. That is on purpose, not stutter. If you are used to Tinkercad or Fusion 360, turn off “กล้องหมุนต่อหลังปล่อย” under “หน้าตา”, and the view stops at once.
• Single switches: Without fast mode you can also turn off just “แสดงเงา” or “เส้นขอบบนชิ้นงานทุกชิ้น”.
• Use the graphics card: In Chrome open chrome://gpu (in Edge edge://gpu). Next to "WebGL" it should say "Hardware accelerated". If it says "Software only", hardware acceleration is off in the browser's settings. On Windows you can also pick "High performance" for the browser under Settings → System → Display → Graphics, so it uses the real graphics card and not the weaker one in the processor.
• Simplify large imported meshes: A model of many hundred thousand triangles slows any view down. How to thin it out is in the chapter on files, under "Simplifying an imported mesh".
• Close other tabs: Every open layerling tab and every other 3D page shares the same graphics card.

3. Placing and adjusting shapes

The shape library, dimensions by number and by handle, colour, rotating, tapering and twisting.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Every part in layerling starts with a shape. From them you build everything else: shapes complement each other, cut each other out or are joined into a new shape.

Adding a shape

Click “เพิ่มรูปทรง” in the ribbon. The shape library opens.

The library is one list in sections, from “รูปทรงพื้นฐาน” to “ตัวช่วย”, each with the number of shapes in it. A click on a section's name folds it away, and the browser keeps what you folded; the first time, all of them are open. On top, “ใช้ล่าสุด” holds the last four shapes you put in. The search field finds a shape by its name and by other words for it, in English and German too: "USB" finds the “ช่องเปิด”. While you type, only the sections with a match show; an empty field brings your folded sections back as they were. “รูปทรงของฉัน” on top is a single line until you keep a shape there.

The library closes after each shape you pick. Its title bar moves it, so you can put it where it does not cover the spot you are aiming at, over the properties panel for example; a double-click on the title bar puts it back under its button, and where you left it is kept in the browser. The pin in the title bar keeps the library open while you put several shapes one after the other. Its edges and corners pull its size, as wide and as high as your screen allows; the size is kept in the browser too, and a double-click on an edge sets it back. Pulled narrow, the library leaves out the names and shows only the pictures; the name appears when you point at a shape.

Pick a shape. It now hangs on the mouse pointer and lands where you click. Move it over a body and it lies down on the face under the pointer, sloped ones too, like Cruise in Tinkercad; over the empty plate it lands on the workplane. Esc cancels placing. A tool that waits for a click, such as the tape measure, the framing square, a note, “วางพื้นงาน”, “วางราบตามหน้า” or the edge tools, is switched off when you pick a shape, so the click places the shape. The other way round, switching one of those tools on puts the shape down again. If you would rather have the shape appear in the middle of the plate, you can switch off placing by click in the settings (area “หน้าตา”, switch “วางเกาะผิวรูปทรงอื่นเมื่อเพิ่มรูปทรงใหม่”).

On a face the shape snaps to the middle of that face when the pointer comes near it, as a corner or an edge snaps; hold Alt to set it down anywhere. Dragged from the library onto a face instead, it always lands in the middle of the face, or with Alt where you let go.

What the library offers:

• “รูปทรงพื้นฐาน”: “กล่อง”, “กล่องขอบมน”, “ทรงกระบอก”, “ทรงแคปซูล”, “วงรี”, “รูปหลายเหลี่ยม” (three to twenty-four sides), “ลิ่ม”, “ทรงกลม”, “กรวย”, “กรวยโค้ง” (its side bends inward into a trumpet like a pseudosphere or outward into a dome; “เส้นผ่านศูนย์กลางด้านบน” and “ความโค้ง” set it, and it can be hollowed out and filleted like any exact body), “พีระมิด” (with three to twenty-four sides, so three-sided too), “หลังคาโค้ง”, “ครึ่งทรงกลม”, “ทรงพาราโบลา” (a dome that narrows to a rounded tip, its height falling with the square of the distance from the axis) and “ทรงห่วงยาง”.
• “ภาชนะ ท่อ และข้อต่อเปลี่ยนขนาด”: the “เชื่อมสเก็ตช์ (Loft)” from one outline to another, say from square to round, the “ท่อ”, the “ท่อโค้ง”, made of up to twelve straight pieces with bends in between, and the “แจกัน”.
• “รูและช่องเจาะ”: the “รูจมหัวสกรู” and “รูเตเปอร์” for screw heads, the “รูทรงหยดน้ำ” for horizontal holes and the “ช่องเปิด” for USB, HDMI, DisplayPort and RJ45 sockets.
• “ข้อต่อ”: “เกลียว” (threaded rod, screw, nut and tapped hole), the “แหวนรองหัวเตเปอร์” under a countersunk screw, the print-in-place “บานพับ” and the “ข้อต่อหางเหยี่ยว”. More in Threads and mechanics.
• “ชิ้นส่วนกล่องครอบ”: the “เสายึดสกรู” for heat-set inserts and self-tapping screws, the “ตัวล็อกสแนป” with its catch and the “ครีบเสริม” or gusset. More in Threads and mechanics.
• “กลไกและชิ้นส่วนเคลื่อนที่”: “สปริง”, “เฟือง”, the “ข้อต่อฟัน Hirth” and the “มู่เล่ GT2”.
• “ระบบและแม่แบบ”: “Gridfinity” bins and baseplates, and the “บอร์ด SBC”, a single-board computer true to size to build a case around.
• “ตัวอักษรและป้าย”: “ข้อความ”, also along a circular arc, the “ป้ายชื่อ”, the “ป้ายไอคอน” and the “คิวอาร์โค้ด”. More in Text.
• “เส้นรอบรูปตกแต่ง”: “ดาว”, “หัวใจ”, “พระจันทร์เสี้ยว” and the “ลายกันลื่น” for grips.
• “ตัวช่วย”: the “ไม้บรรทัด”, which is only a measuring tool and never shows up in an export.

You get a triangle in two ways: the “รูปหลายเหลี่ยม” with three sides is an isosceles triangle, the "Roof" of Tinkercad, and the “ลิ่ม” is a right triangle. Both are true triangular prisms. For a triangular hole, copy the shape, make the copy smaller, mark it as a hole and line it up with “จัดไว้กลางพื้นงาน” or “จัดแนว”. Both work with the shape's bounding box, the smallest box that encloses it, so a halved square still counts as a whole square. The command search (Ctrl+K) also finds both shapes under "triangle" or "roof".

The “ทรงแคปซูล” can be narrower at one end than at the other, say for a guard over a belt between two pulleys. Under “คุณสมบัติ” set “ปลายเล็ก (เส้นผ่านศูนย์กลาง)”; the large end is as wide as the capsule, and the sides run straight from one arc to the other. “ระยะห่างศูนย์กลาง” is the distance between the two arcs' centres, that is how far apart the pulleys are. Change the small end and the centre distance stays, the capsule getting longer or shorter. The tapered capsule stays an exact body too, for fillets and STEP.

The shape's settings

As soon as a shape is selected, its settings appear on the right. At the top is the name; the pencil beside it (“เปลี่ยนชื่อ”) lets you type a new one. Enter keeps it, Esc cancels, and an empty name brings back the shape's default name. Further right, the padlock locks the shape against accidental moving and the eye hides it. The arrow on the far left folds the settings down to their title bar. The cards below fold open and shut with a click on their title (“คุณสมบัติ”, “ตำแหน่ง”, “การหมุน”, “เรียวสอบ”, “บิดและเอียง” and the cards of the special shapes); layerling remembers which ones you left open, for the next shape and the next visit.

The settings sit docked at the right edge. If they cover something you want to see, drag them by their title bar and they float wherever you drop them; they stay there for the next shape too. Drop them back at the top right, or double-click the title bar, and they dock again. While they float or are folded down, the snap step moves from the bottom of the settings to the bottom right of the workplane.

• “ชิ้นตัน” or “ชิ้นเจาะรู”: A solid stays, a hole takes material away. A click on “ชิ้นตัน” opens the colours; colours of your own that you mix there wait under “ใช้ล่าสุด” afterwards, the last eight. More in Solids and holes. The pin in the row “สีที่เก็บไว้” keeps the colour you have chosen for good: it stands in a row of its own, newer colours never push it out, and the same pin lets go of it again; up to 21 colours are kept in this browser.
• “โปร่งใส”: Lets you see through the body, for example to spot a shape behind it.
• “หลายสี”: For a group or a bundle; Shift+M switches it. Switched on, every part of the group shows in its own colour, also in a group that was cut with holes into one body (the walls a hole leaves take the colour of the body they were cut into). Picking a colour for the group switches it off and colours the whole group; the parts keep their own colours underneath, so switching it on again brings them back. A bundle has it switched on to begin with, and when it is switched off the bundle shows and exports in one colour. A group of solids only that you make starts with it switched off and shows as one body; groups made before keep showing their parts' colours. In a 3MF export every part keeps its colour, so the slicer can map the parts onto filaments; OBJ carries the colours on its points, so the border between two colours is a little rougher there.
• “คุณสมบัติ”: The dimensions and everything that belongs to this shape. For a cylinder the diameter, the height and the number of sides. For a round tube or ring the “เส้นผ่านศูนย์กลางนอก”, the “เส้นผ่านศูนย์กลางใน” (for a bushing on a shaft of a known size) and the wall thickness: any two give the third, in whatever order you type them. The outer diameter keeps the bore and changes the wall, the inner diameter keeps the outer one and changes the wall, and a bore wider than the tube makes the outer diameter grow by the wall. The tube's length is its height. A tube that is not round, after you pulled one of its sides, has the sides Length and Width instead of the one outer diameter; there the wall stays when you change the width. For a gear the teeth, for a spring the turns. A value you have moved away from its default gets a small arrow next to its name: a click takes just that value back, whatever else you did since, unlike Undo. A double click on a slider does the same, here and for the sliders in the workspace settings. Dragged with the mouse, the slider of a length snaps to the snap step, so a height comes out in whole millimetres (not with the grid off, and not on short sliders); a typed value and the arrow keys on the slider stay exact. “บันทึกเป็นค่าเริ่มต้น” at the bottom makes the current values the start values of this kind of shape (the same as “ค่าเริ่มต้นของรูปทรง” in the settings), and “รีเซ็ตค่าเริ่มต้น” goes back to the app's own. With “รูในเจาะทะลุแบบชิ้นเจาะรูเมื่อรวมกลุ่ม” the bore counts as a hole once the tube is grouped: it then also cuts the wall of what the tube is grouped with, so two tubes in a T-junction open into each other. A bent tube with an opening has the same switch.
• “เปลี่ยนเป็นวงรี”: Only on a cylinder. A cylinder is always round: it has one diameter, and every handle changes both sides together. For an oval, click this and it becomes an “วงรี” - the same body, whose length and width you then set one by one. A cylinder with a chamfer, a fillet or a wall, or a turned or grouped one, cannot be changed this way; take the “วงรี” from the start for those.
• “เรียวสอบ”: Different sizes at the top and bottom, for example for a slope or a funnel. With “คงสัดส่วน” switched on, Length and Width of the same end change together in the ratio they have, so a square top stays square; top and bottom stay separate.
• “บิดและเอียง”: Twists the top against the bottom or shifts it sideways. That gives twisted columns and leaning towers.
• “ลาดเอียงตามแนว”: Runs the top down towards one end. “ปลายด้านต่ำ” picks the end, “ความสูงปลาย” or “ความลาด (°)” how low it goes, and “ความโค้ง (%)” whether the top runs straight (0), bulges up (above 0) or sags (below 0). The other end keeps the body's height. Once it is set, an orange dot sits on the top of the lower end; drag it up and down like the height. That gives a roof whose height runs down along its length, a ramp or a slanted pipe end.
• “สอบแคบตามแนว”: Seen from above, runs both long sides in evenly towards one end, so that end stays in the middle. “ปลายด้านแคบ” picks the end, “ความกว้างปลาย” its width (0 makes a point), “เริ่มที่ (%)” where along the length the narrowing begins (0 % at the wide end, 50 % in the middle), and “ความโค้ง (%)” whether the sides run straight (0), bulge out like a boat's bow (above 0) or are drawn in (below 0). Its orange dot sits on the side of the narrow end and moves across. Together with “ลาดเอียงตามแนว” it makes a bow or a ridge that runs down and in at once.

Taper and twist work on almost every shape. Only the gear, thread, spring, Gridfinity, hinge, pyramid, bent tube, teardrop, port opening, the screw-head cutters and the ruler leave them out: they have fixed measures of their own or, like the pyramid, a top of their own already.

“บันทึกเป็นค่าเริ่มต้น” keeps what you changed on this shape as the start of every new shape of its kind: the sizes, the settings of the shape and its colour. Colour a cylinder green, press the button, and every cylinder you add from then on is green; the other kinds keep their own colours. “รีเซ็ตค่าเริ่มต้น” takes the kind back to what the app starts it with. The kinds that have defaults of their own are marked in the settings under “ค่าเริ่มต้นของรูปทรง”. A new design that you start from the start page begins with them too; the values are kept in this browser.

A tapered or leaning box, cylinder, ellipse, polygon, tube or ring keeps its exact shape, and so do the capsule, star, heart, crescent, dovetail a rounded box without rounded top and bottom edges, and a straight or round knurl (its chamfered ends narrow with it): chamfers and fillets work on it as on the plain shape, and the STEP export writes it. The same holds for a twisted shape: its section turns exactly as it rises, and the sides wind evenly from bottom to top.

“ลาดเอียงตามแนว” is offered on the box, rounded box, cylinder, ellipse, polygon, tube, ring, wedge and round roof. The wedge and the round roof lie along their depth, so they slope to the front or the back only. The sloped body keeps its exact shape, so chamfers, fillets and the STEP export work on it as on the plain shape; only a rounded box with rounded top and bottom edges, and a slope together with a taper, a twist or a lean, stay on the display mesh.

“สอบแคบตามแนว” is offered on the same shapes except the tube and the ring, whose wall would get thinner across than along. A narrowed box, and a wedge or round roof narrowing, sloping or both, keep their exact shape in the same way. For now the display mesh only covers the rest: a narrowed cylinder, ellipse, polygon or rounded box, and a box that slopes and narrows at once. Chamfers, fillets and the STEP export then work on that mesh rather than on an exact body.

Typing is more exact than dragging. All number fields take millimetres, but also percentages: type "50 %" into a width of 40 mm and you get 20 mm. They calculate too: "15*3", "120-2*4" or "(40+2)/2" give 45, 112 and 21; x works instead of *. The field remembers the calculation, in the properties panel as well as in the dimension boxes around the selected body: click into it again later and the formula stands there instead of the number, as long as the value still matches it, and you change it in place, "(140+2)/2" becoming "(40+6)/2". Drag the body by a handle or scale it and the formula no longer fits, so the field shows just the number again. In a number field you have clicked, the mouse wheel and the keys ↑ and ↓ change the value by one step, with Shift a larger step and with Alt a finer one. In a size or position field Shift steps by the snap grid instead, and by ten steps when the grid is off. It also works without clicking into a field: hold the mouse button down on the name of a value, say "Width", and drag left or right; the value changes as you drag, with the same keys as the wheel.

Choosing colours

A click on “ชิ้นตัน” in the properties of a body opens the colour card, headed “สีรูปทรง”. On top it shows the hex value of the colour the body has now. Under it are the ready colours of the palette; a click on one colours the body and closes the card.

“กำหนดเอง” opens the colour picker of your browser, for a colour of your own. What it offers depends on the browser: in Chrome and Edge it has a colour field, a slider for the hue, an eyedropper that takes a colour from anywhere on the screen, and the value as HEX, RGB or HSL, which you switch with the arrows beside it. The colour counts when you close the picker or click outside it.

A colour of your own that you mix there waits under “ใช้ล่าสุด” afterwards, the last eight. The pin in the row “สีที่เก็บไว้” keeps the colour you have chosen for good: it stands in a row of its own, newer colours never push it out, and the same pin lets go of it again; up to 21 colours are kept in this browser. The pin is for colours of your own, the ones of the palette are always there. With several colours selected, or with a hole, there is no single colour to keep.

The colours of the work area in the settings have a simpler picker of their own, with a colour field, a row of ready colours and a field for the hex value; see The settings.

How round is round? The side count

Round shapes such as cylinder, cone, tube, ellipse or the bores have the switch “จำนวนด้านปรับตามขนาด” and the slider “จำนวนด้าน” in their properties. The “ทรงห่วงยาง” has two sliders: “จำนวนด้านของวง” around the ring and “จำนวนช่วงของท่อ” around the tube. They follow the size there too until you hold them, so a large torus shows no facets. The reason: for the view and for STL, 3MF and OBJ, layerling draws a circle as a polygon of many small sides. The more sides, the smoother it is, and the more triangles it takes.

The “ความหนาท่อ” sets how thick the tube is seen from above. The height only squashes or stretches the tube, so a flat ring keeps its hole; at half the outer size the hole closes. Dragging the handles scales the tube along. Only a torus whose tube is as thick as the torus is high stays an exact body for chamfers, fillets and STEP.

Where the side count matters

• In the export for the slicer (STL, 3MF, OBJ). A cylinder with few sides arrives there as a polygon.
• When bodies and holes are combined. A bore cut by a hole with few sides is angular in the finished part. That includes screw holes.
• In the view. Many very fine shapes slow the editor down.

Where it does not matter

• For the STEP export. It writes the round shape, not the polygon.
• For chamfers and fillets (“ลบมุมเฉียง”, “ลบมุมโค้ง”) as long as the shape stays round. That is the case when you have not set a side count, when the count is at least the shape's default, or when the polygon strays at most 0.05 mm from the circle. The default is 96 sides for cylinder, ellipse, tube and cone, 64 for the “หลังคาโค้ง”, 24 steps for the “ทรงกลม”, 32 for the “ครึ่งทรงกลม” and the “ทรงพาราโบลา”, 96 sides and 24 steps for the “ทรงห่วงยาง”, and a “คุณภาพ” of 32 for a round “ท่อโค้ง”.
• For a thread, a spring or a helical or herringbone gear. The edge tool and the STEP export take its exact body; its “คุณภาพ” only sets how finely it is drawn.

Where it matters again

• For chamfers and fillets on a shape with few sides. If you set the side count below the default, the edge tool takes the shape as it is drawn: a cylinder with 6 sides stays a hexagonal bar, and the fillet runs round its six edges. That is how you can build, for instance, a nut pocket with rounded corners. For a round shape, leave “จำนวนด้านปรับตามขนาด” on.

How to use it

• Leave “จำนวนด้านปรับตามขนาด” on. Then layerling picks the side count from the diameter so that the polygon strays at most 0.005 mm from the true circle, far below what a printer resolves. Small shapes get at least 24 sides, large ones more.
• Fewer sides you take when you want a polygon on purpose (but there is the “รูปหลายเหลี่ยม” for that) or when the editor gets slow with very many round shapes.
• More sides you hardly ever need. Only on very large round parts, when you see edges in the STL.
• For parts you only treat with edges or hand on as STEP, the side count does not matter.

Working with the handles

Besides the settings there are handles on the shape itself:

• The corners and edges make the shape larger or smaller. Drag one past the opposite side and the shape keeps growing there, on the other side of that edge. The arrow on top does the same below the base. Hold Shift while dragging a corner to scale width, depth and height together and keep the proportions; hold Alt to scale from the center instead of the opposite corner. Without a keyboard, or if you do not want to hold a key, switch on “คงสัดส่วน” at the top of the properties: then the corners always keep the proportions, and typing one of width, depth or height scales the other two by the same factor. The setting is remembered.
• The blue arrow above the shape lifts or lowers it; with Alt held from the start, a copy is made where you let go, so you can stack. The handle on the top face changes the height. The handles that change one measure carry the colour of its axis, as the curved arrows do: the middle of a side (width red, depth green) and the top (height blue); the corners change two measures and stay white.
• The red and the green arrows on top move the shape along X or along Y only. The shape then follows the mouse along that line, even when you look at the plate from low down, where a free drag runs off far. It snaps to other shapes as a drag does, and afterwards you can click the distance moved and type the exact value. If they get in the way, switch off “แสดงลูกศรเลื่อนสีแดงและเขียว” in the settings.
• The curved arrows rotate it.
• The numbers beside the shape show the dimensions. A click on one opens a field in which you type the number you want. With Enter the shape grows from the edge opposite the number, as when you drag; with Alt+Enter it grows round its middle, so a shape that was aligned with another stays aligned. With “คงสัดส่วน” ticked in the properties, or with Shift+Enter, the other two dimensions follow by the same factor. That holds for width and length; the height always grows upward from the underside. The fields in the properties on the right keep the middle without a key. Tab keeps the number and opens the next one (width, depth, height); Shift+Tab goes back. In a field of the properties that you have clicked, the mouse wheel changes the value as well: a unit a notch, ten times as much with Shift (in a size or position field the snap grid), a tenth with Ctrl and a hundredth with Alt. A field that you have not clicked leaves the wheel to the panel, which scrolls.
• A click on a corner (without dragging) opens width and depth together. Type the first, press Tab for the second and Enter to apply both. Esc cancels.

Once a shape is turned by right angles, for instance laid on its side with “วางราบตามหน้า”, the fields in the properties are named after the direction each measure runs in now: “ความสูง” is what goes up, “ความกว้าง” runs along X and “ความยาว” along Y. A field with a name of its own, such as a countersink's head diameter, keeps it. Typing the height of a shape lying down therefore changes the vertical measure, and its underside stays on the plate. A shape tilted at any other angle shows its own measures in the fields, and a note below says so.

Without the mouse, use the keyboard: the arrow keys move the selection by one snap step (0.01 mm when the grid is off), with Shift by five, or by ten if you set “เส้นกริดเข้มทุกๆ” to “10 ช่องกริด” in the settings under “หน้าตา”: as far as the next darker line, as in Tinkercad. They follow the view: → moves to where the screen's right is, ↑ away from you, even after turning the plate. Push a shape out of the picture and the view moves along. Ctrl+↑ and Ctrl+↓ raise and lower it. A run of arrow presses is one step in the history: as long as the next press follows within a second and a half, Undo takes back the whole run, not a press at a time. R rotates by 45°, Shift+R by 22.5°. D drops the selection onto the workplane.

The handles pull a shape as large as your plate, at least 220 mm wide and deep. Typing a number in the properties goes beyond that, and a shape made that large does not shrink back when you grab it again. A ceiling of your own per shape is set in the settings under “ค่าเริ่มต้นของรูปทรง” with “จำกัดขนาดเอง”.

The snap step is at the bottom right of the editor and can be changed at any time.

Copying and duplicating

“คัดลอก”, “วาง” and “ทำสำเนา” are in the ribbon (“คลิปบอร์ด”). Ctrl+D duplicates a selection. layerling remembers how you last moved or rotated the copy and applies the same again on the next duplicate. That produces a row of holes or steps in a few key presses. It works with several parts at once too: duplicate a whole layer, lift the copy, and every further Ctrl+D stacks the next layer at the same distance. For regular arrangements there is also the pattern, described in Selecting and arranging. If you also resized the copy, every further copy grows by the same factor again, as in Tinkercad. A shape you gave a name of your own gets a copy that is called after it, "Holder (copy)", then "Holder (copy 2)" and so on, so the object list stays readable; a shape that only has the name layerling handed out ("Box") keeps it.

Custom shapes

A holder, a grip or a base plate you need again and again goes into the “รูปทรงของฉัน”. They sit at the top of the shape library, above the “รูปทรงพื้นฐาน”, and fold away with their arrow.

1. Select one or more bodies, holes, groups or an imported model included.
2. Open the shape library and click “บันทึกที่เลือก”. Enter a name and confirm with “บันทึก”.
3. In any design, a click on the tile inserts the shape, like any other shape. You can also drag the tile onto the workplane; it then lands where you let go. The shape then hangs on the pointer, like any other: it follows it, also over the faces of other bodies, and a click sets it down; Esc puts it away.

Several bodies come back together, placed as they stood to each other, and stay selectable one by one. Notes pinned to the saved bodies go along and come back closed, pinned to the inserted ones; free notes and reference points stay in the design. The pencil on a tile renames it, the bin removes it after asking. Shapes already inserted into designs stay as they are.

The “รูปทรงของฉัน” live in this browser, apart from the designs, and are there again the next time you start. “สำรองข้อมูลทั้งหมด” on the start page backs them up with the designs, and opening the backup brings both back. To take only the shapes to another browser, “สำรองข้อมูลรูปทรงของฉัน” (the arrow pointing down) saves them as a ZIP file and “โหลดรูปทรง” (the arrow pointing up) brings them back there. “โหลดรูปทรง” also takes single .lyl designs; each one becomes a shape. Shapes already there are not added twice.

Typing in the search of the shape library finds your custom shapes by their name too, also those inside folders; they show above the library's own matches. The button with the arrow and the letters A to Z, beside the folder button, puts the custom shapes in order by name instead of by the day they were saved; a second click brings the old order back, and the browser remembers the choice.

Folders

Many custom shapes sort better into folders. “โฟลเดอร์ใหม่” (the folder with the plus, next to “บันทึกที่เลือก”) asks for a name and makes a folder at the top; the folder with the plus on a folder, “โฟลเดอร์ใหม่ข้างใน”, makes one inside it. Folders go three levels deep: a folder on the third level holds shapes but no further folders. Folders sit above the shapes that are in none, in the order of their names, and open and close with their arrow; the number on a folder counts the shapes in it and in the folders inside it. When saving, choose the folder in the list next to the name; “ไม่มีโฟลเดอร์” keeps the shape at the top.

The folder with the arrow on a tile moves that shape into another folder, or back out with “ไม่มีโฟลเดอร์”. The pencil on a folder renames it, the bin deletes it after asking, together with the folders and shapes in it. A folder itself cannot be moved: make the new one where it belongs and move the shapes over. A backup keeps the folders, and loading it puts the shapes back in the same place.

Custom shapes on the server

With the shared server store switched on, the section shows two groups: “บนเซิร์ฟเวอร์” and “ในเบราว์เซอร์นี้”. When saving you choose where the shape goes; the server is chosen to start with. There it lives in the folder Custom shapes, as a .lyl file of its own with a picture, ready on every device that reaches the server; its folders are folders inside Custom shapes. Each side has folders of its own, and a shape moves between the folders of its side. The cloud on a browser tile puts that shape on the server; it is then no longer kept twice.

The Custom shapes folder shows on the start page as well. Open a shape there like a design, change it, and it is saved automatically like any design on the server; the next insert takes the new version. As the server store has no login, everyone who reaches the server sees the same shapes.

Wrapping around a cylinder

Should a pattern, a logo or lettering go onto a cup, a can or a tube? First lay it flat on the plate, as an imported SVG or as text for example, the way it should look from above. Then wrap it around a cylinder in the shape's settings under “พันรอบทรงกระบอก”:

1. Open “พันรอบทรงกระบอก” and enter the “เส้นผ่านศูนย์กลาง” of the cylinder wall, such as the outside diameter of your cup. Tenths of a millimetre work too, such as 63.5.
2. Click “พัน”. What ran from left to right now runs around the cylinder, the back edge becomes the top, and the thickness stands out of the wall.
3. Select the wrapped shape and the cylinder and centre both, left to right and front to back. The middle of the wrapped shape is the cylinder's axis, so it then sits right on its wall.

Every body can be wrapped, a shape from the library too: a round roof, say, that should sit on the wall of a round tower. Lay it on the plate the way it should look on the wall, its round top at the back.

For an engraving, switch on “เข้าด้านใน (แกะสลัก)”: the thickness then goes into the wall. Make the shape a hole, centre it and group it with the cylinder.

A shape that is wrapped already is a mesh of the wrapped thing and cannot be wrapped again: undo the wrapping, or wrap the flat original once more with another diameter.

The result is a mesh like an imported model. Undo lays the shape flat again; for another diameter, undo first and wrap again. It cannot go further than once around the cylinder; then layerling names the smallest diameter that fits.

A surface texture

Grooves, knurling, honeycomb or bumps on a body, for a better grip or for looks: open “ลายผิว” in the shape's settings. The button “ลายผิว” in the “พื้นผิว” group at the top does the same: it opens and closes the card for the selected body and stays lit while the card is open. Unlike the other cards it is not kept: when you choose another body, or none, it closes again.

1. Choose the “ลาย”, its “ระยะห่าง” and its “ความลึก”. “ทิศทาง” says whether it goes into the body or stands out of it. For “ลายปุ่ม”, “ทรงปุ่ม” chooses between “ครึ่งลูกบอล”, “กรวย (แหลม)”, “มนนุ่ม ๆ” and “หัวแบน”. Under “การจัดเรียง” they sit “สลับฟันปลา”, every other row half a spacing along, or in “แถวตรง”.
2. Under “วางลายแบบ”, take “รอบแกน” for round bodies such as a cup, a knob or a handle. The pattern runs round the “แกน”, and the spacing is rounded a little so that a whole number of grooves or cells goes round: the pattern closes without a seam. “รอบทุกด้าน” suits bodies that are not round, “แบนราบ ตามแนวแกน” a lid or a plate seen from above. Leave it at “อัตโนมัติ” and Layerling chooses for you: “รอบแกน” on round bodies and on angular ones standing upright such as a box - the pattern then follows the outline and runs round the edges without a seam, a pattern standing out bending round them -, “รอบทุกด้าน” on other angular ones.
3. Click “ใส่ลายผิว”. A large body takes a few seconds; you can keep working meanwhile.

To give the pattern to only some faces, say only the top of a box, click “เลือกหน้า” and then the faces in the view: the top, the bottom or a side. A face reaches up to the body's sharp edges; on a cylinder the mantle is one face, and the top and the bottom are one each. Picked faces light up, a second click takes one out again, and “กลับเป็นทุกหน้า” gives the pattern the whole body again. Only the picked faces get the pattern; all others stay as they were and keep few triangles. On a top or a bottom the pattern lies flat; on a round top, grooves, rope and knitting run in rings round the middle, like a tree's year rings. “ทิศทางด้านบน/ล่าง (°)” turns the pattern on the top and bottom: at 0° the rows run along the front edge, at 90° along the side edge. “ด้านบนและด้านล่าง” switches grooves, rope and knitting there between rows and rings; on an angular body the rings follow its outline. “ขอบด้านบนและด้านล่าง” says what happens at the edge between the side and a patterned top or bottom: “คม” lets both end at the edge. With “ลายข้างคลุมข้ามขอบ” the side's pattern bends round the edge and takes the whole top: rows of rope, knitting and level grooves run on as rings, upright and slanted grooves as rays almost to the middle. “พับข้ามขอบสั้น ๆ” does the same as a rim only; inside lies the top's own pattern, as “ด้านบนและด้านล่าง” sets it. “ขอบลาย” lays a border round the edge for every pattern – a cord, a cast-off chain or a round bead. A tight round (a fillet) ends a face as well: on a cup with rounded rims the outside, the rounds, the rim, the inside and the bottom are faces of their own, so a click on the outside takes only the outside. A wide round, about a quarter of the body or more, belongs to the face, as a sphere is one face. With picked faces, “ผนังด้านนอก” and “ผนังด้านใน” do not count.

Several patterns on one body – bricks round the sides, knurling on the top – are layers: “เลเยอร์” beside the first adds one, and picking is switched on for it at once; click the faces it should get. Every further layer goes only on its own faces, the first on all the others. The tabs show one layer at a time with its settings, “ลบเลเยอร์นี้” takes one away. All layers are made together on the body under the texture, so changing one or taking the texture off works as for a single pattern. A text needs no faces as a layer: it goes where it is put.

Under “เพิ่มเติม” you choose where the pattern goes: outer and inner walls, how far the bottom and the top stay smooth (a smooth bottom keeps the body flat on the bed), a band of the height, and whether sharp edges stay smooth. Next to everything that stays smooth, the pattern fades in gently; “ค่อย ๆ จางในระยะ” sets over how many millimetres. The smaller it is, the closer the pattern comes to an edge; a pattern standing out runs out right up to it. On the flat sides of an angular body like a cube it ends at a straight border that far away instead: grooves and diamonds stop with a short wall, and only whole bumps stay. “รูปหน้าตัด” shapes the cross-section of a groove or joint: pointed and flat come out exactly, round in as many steps as “ความละเอียด” gives it.

Besides “ลายร่อง”, “ลายกันลื่น”, “ลายรังผึ้ง” and “ลายปุ่ม” there are more patterns. “ช่องเซลล์” are irregular cells like paving stones or dried clay; their joints are cut cleanly as the honeycomb's are, and another “การจัดวาง” lays them out anew. “ลายถัก”, “ลายเชือก” and “ลายสานตะกร้า” copy knitted stitches, a wound rope and a basket of stakes and weavers; they start raised and round, at the size of their models. “ลายเม็ด” roughens the surface finely, as if blasted; the grain lies in space, without a seam or stretching. “รูปภาพ” takes a grey picture as a height map: one of the ready ones such as wood, topography or terrazzo, or your own with “โหลดรูปภาพของคุณเอง…”. Light becomes the full depth; “ความกว้างแผ่นลาย” sets how wide a tile is, and under “การเรียงแผ่นลาย” the tiles repeat, mirror or are staggered. A dark drawing on a transparent ground, such as black lines in an SVG, counts by its lines: they become the full depth. With “ครั้งเดียว” the image is pressed on a single time, like a label: “ตำแหน่งรอบตัว (°)” and “ความสูง (%)” place its middle as for a text, “ความกว้างรูปภาพ” sets its width, and the surface beside it stays smooth. With faces picked, it always lands on them, even where “ตำแหน่งรอบตัว (°)” and “ความสูง (%)” aim past them.

“คาร์บอน (ลายทวิล)” lays carbon fibre woven in twill onto the body: upright bands and crossing bands, over and under each other, one band on from band to band, so the familiar diagonal shows. “ลายสาน” chooses “ทวิล 2/2”, the even weave of most carbon parts, or “ทวิล 2/1” and “ทวิล 3/1”, where the upright bands show long and the crossing ones short. “ความกว้างแถบ” sets how wide the upright bands are; “ความกว้างแถบแนวขวาง” makes the crossing ones wider or narrower for an uneven weave (0: as wide). Round a body the band width is rounded a little so the weave closes without a seam. The single fibres are far too fine for a print: the bands with their crossings are what shows.

“อิฐ” lay a brick wall onto the body, with joints sunk in like mortar. “แบบการก่อ” chooses how the bricks are laid: “ก่อแบบสลับครึ่งก้อน” as most walls are, “ก่อแบบตรงแนว”, or with short bricks between the long ones (“ก่อแบบอังกฤษ”, “ก่อแบบอังกฤษไขว้”, “ก่อแบบเฟลมิช”). “ความยาวอิฐ” and “ความสูงแต่ละชั้น” count from joint to joint and are rounded a little so that whole bricks fit: round a cup, from edge to edge of a box's side and from the bottom to the top; “ความกว้างรอยต่อ” says how wide the joints are. Under “เพิ่มเติม”, “อิฐไม่เสมอกัน (%)” lets every brick lie a little deeper, as in an old wall.

“สี่เหลี่ยม” and “สามเหลี่ยม” lay tiles of one size in a grid onto the body, raised or pressed in, their walls cut steep and clean; the triangles stand in rows, pointing up and down in turn. “ขนาดสี่เหลี่ยม” or “ขนาดสามเหลี่ยม” and “ช่องว่าง” stay exactly as you set them – squares of 3.2 mm, 3.2 mm apart, are eight lines of a 0.4 mm nozzle each and print cleanly. The grid is centred on every face; round a round body the gap is rounded a little so that a whole number goes round. With “เริ่มจากขอบล่าง” the first row starts right at the bottom edge and reaches down into the first layer, where a brim holds it. For tiles on only the lower half of two sides, pick the two faces and put a helper body over the upper half with “กันไม่ให้ลายขึ้น” under “ตัวบังลาย” (see below). Under “เพิ่มเติม”, the “รูปหน้าตัด” “แหลม” makes pyramids of them, “มน” and “ครึ่งวงกลม” cushions.

“โครงไม้ครึ่งปูน” and “กำแพงหิน” are made for model buildings, such as the houses of a model railway or a diorama. “โครงไม้ครึ่งปูน” raises beams out of the wall, the plaster between them lying lower: posts “ความกว้างช่อง” apart, a sill and a plate to every storey of “ความสูงชั้น”, and “จำนวนคานนอนต่อชั้น” across it. “ค้ำยัน” chooses how much wood the panels hold: “ค้ำเฉียง” lean towards the middle from both ends, “ค้ำกากบาท” sit under the lowest rail, “ค้ำมุม” in the top corners, and “ผสม” puts braces at the ends with crosses and corner braces between, as on many old houses. “ความกว้างคาน” and “ความนูนคาน” make the beams wide and deep, “ลายเนื้อไม้ (%)” gives them a grain: 0 % none, below 50 % more and finer lines, above it two wide, deep grooves – from planed wood to rough planks. As with bricks, panels and storeys are rounded a little so that whole ones fit, from the bottom edge up. “กำแพงหิน” lays an old wall of stones of different sizes in rough courses, the mortar joints lower and every stone bulging a little by its own amount. “ความกลมมน (%)” goes from broken stone with sharp edges (0 %) to rounded field stones (100 %); “ความต่างของขนาด (%)”, “ความกว้างรอยต่อ” and “การจัดวาง” say how different the stones are, how wide the joints and how they lie. Both are shape only, in one colour, so “แยกลวดลายเป็นชิ้นส่วนของตัวเอง” can make the beams or the stones a part of their own in a second colour.

The pattern “รอยร้าว (คินสึงิ)” grows cracks across the surface as in kintsugi, with kinks, branches and a width that tapers towards the end. “จุดเริ่ม” tells where they begin: at the top rim of a vase or a cup, at the bottom, from the rim to the middle of a plate, or anywhere; under “ชนิด” they become lightning. With “แยกเนื้อทองเป็นชิ้นส่วนของตัวเอง” the notch is filled by a part of its own in gold, for a second filament; it goes along when you change or remove the texture. Under “เพิ่มเติม” you set branches, zigzag and chipped edges, and another “ค่าสุ่ม (Seed)” throws the cracks anew.

“เปลือกไม้” lays a tree's bark round a log: “โอ๊ก”, “สน”, “สนสปรูซ”, “เบิร์ช” or “บีช”, each at its own size and depth. “ลายเนื้อไม้” makes the body a piece of wood: under “ชนิดไม้” choose oak, ash, beech, pine or walnut, under “แบบการผ่า” a log without its bark or a board, flat-sawn with its arches or quarter-sawn with straight lines. “ความกว้างวงปี” makes the grain fine or coarse. With “วงปีที่ปลาย” the ends of a log show the annual rings, and they match the grain on its sides: the rings run through the whole body as in a real piece of wood. Under “เพิ่มเติม” you add “ตาไม้”, and the rings bend round them.

With the pattern “ข้อความ (แปะบนผิว)” you stick a text onto the body like a label pressed on: the surface is unrolled round the place, so the letters keep their size on a vase's belly, on a slanted wall or over the edge of a box. "Around" (0° is the front, 90° the right) and "Height" in % along the axis say where it goes; with the axis on X or Y, 0° is the top - that puts the text on a flat plate. “ทิศทาง” engraves it or raises it. Over a real corner it tears like a sticker; the status message says so then. “ตัวอักษรเรียงบนลงล่าง” stacks the letters top to bottom here too. With faces picked, the text always lands on them, even where “ตำแหน่งรอบตัว (°)” and “ความสูง (%)” aim past them.

To keep part of the body smooth, or to texture only a part, use a helper body: put a box, a cylinder or a sphere where it should be, select it and choose under “ตัวบังลาย” either “กันไม่ให้ลายขึ้น” or “ลายขึ้นเฉพาะตรงนี้”. It turns transparent, and it counts when the other body gets its texture, also while it is hidden. Hide or delete it before printing.

The result is a mesh like an imported model, and it keeps the body it was made on. Select it later, also after saving, and the card shows the settings it was made with: change them and click “เปลี่ยนลายผิว”, and the texture is made again on that body, where and as large as the textured body stands now. “เอาลายผิวออก” gives the plain body back. Mask bodies count again when the texture is changed: hide them rather than delete them if you may change it later. Undo takes back each of these steps as well.

For a print in two colours, switch on “แยกลวดลายเป็นชิ้นส่วนของตัวเอง”, with any pattern: the pattern becomes a part of its own, and “สีของลวดลาย” gives it its colour – to begin with one that stands out against the body, the next time the one you chose last. Out of the body, the part is what stands out, and the body stays as it was; into the body, the body gets the pattern cut in and the part fills the cut up to the surface, like the gold of the cracks. Both go together in a bundle: they move together, each keeps its colour, and a 3MF has them as two parts for the slicer. Change or remove the texture as before; the pattern part goes along. With several layers, all have to go the same way, out of the body or into it; a pattern going both ways stays one with the body.

Painting in several colours

For a print in several colours, “ระบายสี” colours parts of a body right in the design: a face, a round wall, the inside of a hole, a round patch or an area you draw round. It works like the paint tools of the slicers, but the paint is saved with the design. Select one body and click “ระบายสี” in the “พื้นผิว” group, next to “ลายผิว”. The panel offers the colours of your design, and “เลือกสีเอง” mixes one of your own. Then paint in the view with one of three tools:

• “เทสี”: a click fills the face up to its sharp edges, like the bucket of a paint program: the top of a box, the wall of a cylinder, the floor of a pocket or the inside of a hole, each in one click. “หยุดที่ขอบที่คมกว่า” says how sharp an edge has to be to stop the fill; at 90° it runs over the edges of a box.
• “วงกลม”: a click lays a round patch of the “เส้นผ่านศูนย์กลาง” set onto the surface, centred where you click, on a curved surface too. It stops at the body's sharp edges and never comes through on the back of a wall.
• “บ่วงวาด”: hold the mouse button and draw round an area. What you see inside the shape is painted; the back of the body behind it is not.

“ยางลบ” takes the paint off again with the same tools, “ล้างทั้งหมด” takes all of it off at once. Every stroke is a step of its own, so Ctrl+Z takes the last one back. Between strokes the right mouse button turns the view as always; “เสร็จ” or Esc closes the panel.

The edges of a circle or a lasso are cut into the body's mesh, so a circle on the face of a box is round, not a few triangles, and the body stays closed. The paint belongs to the body: it moves and turns with it, stretches with it when you resize it, and a stroke that finds nothing any more after a change is left out. A 3MF export writes the paint as painted faces, which OrcaSlicer, Bambu Studio and PrusaSlicer print with their filaments (see Files and saving); an OBJ keeps the colours too, an STL stays one colour.

A group cut into one body, a box with its holes for instance, is painted as one body: paint it after cutting the holes, and its paint stays when you change the group in an open group. The parts of a bundle are painted one by one. A painted body that you group with others keeps its paint as a part and shows it again when you ungroup it. An imported mesh that is not closed is painted on its own triangles.

A vase

The “แจกัน” is a body of its own for vases, pots and lampshades. Its measures are under “คุณสมบัติ”, its form and pattern on the card “รูปทรงและลวดลาย”; all of it can be changed at any time, also after saving:

• “ทรงตัวแจกัน”: bottle, bellied, bowl with neck, barrel, cylinder or funnel. The height and the widest diameter are the shape's own measures: drag the handles, or type “เส้นผ่านศูนย์กลาง” and “ความสูง”.
• “หน้าตัด”: a circle, a polygon with rounded corners or a wave (soft, pointed, arches or fins). “บิด (°)” turns it up the height, “ส่าย (°)” lets it swing back and forth.
• “โครงสร้าง”: “ตัน (โหมดแจกัน)” is for the slicer's vase mode (also called spiralize): the slicer prints one wall in a spiral and leaves out the top and the infill, so the body is drawn solid. “กลวงมีผนัง” gives a real wall and bottom for a normal print. With “ก้น” at 0 mm the hollow vase has no bottom: a tube open at both ends, for bells, mouthpieces and pipes.
• “ลวดลาย”: a new vase is plain. To choose from are grooves, stripes, Voronoi cells or facets (low poly) on the outside, in a band of the height if you like; they belong to the vase and stay editable with it.

“หน้าตัดด้านบน” blends the cross-section into a second one up the height, say from a circle at the bottom to a hexagon at the top.

“วาดแจกัน”, high up in the vase's settings, opens a large window of its own over the work area: in it you draw the vase yourself, in real millimetres. You move it by its title bar and make it larger from its corner; the vase in the view follows every change. “ทรงตัวแจกัน” shows it from the side: drag the points, the top one sets the height, the widest one the diameter; “ที่จับ” gives a point an angle, “มุม” a kink. “หน้าตัด” shows the cross-section from above, and the “ความสมมาตร” mirrors or repeats what you draw. “บิด” draws the twist as a curve up the height. An SVG file from a drawing program becomes the cross-section or the body form, the mesh of a model vase (STL, 3MF, OBJ) the body form. A photo of a vase can go behind the drawing to trace, or “ใช้เส้นขอบ” takes its outline. “ลากตามขอบ” does the same with settings: “ค่าความต่าง” for how clearly the object must stand out from the background, “จำนวนจุด” (3 to 40) and “นับเป็นมุมตั้งแต่”; the new body form shows in red over the photo first and becomes the vase's with “ใช้”. Where the vase stands before a busy background (a shelf, a room), the search does not find it; then the “บ่วงแม่เหล็ก” catches it: click roughly round the vase, between two clicks the line follows the edge by itself, and a click on the first point, a double click or Enter closes it. The body form then comes from the lasso; “ทิ้งบ่วง” lets the search look again. One drag of the mouse is one step of undo; while you drag, the view shows the vase roughly.

The card “ก้นและผนัง” holds what the body needs besides its form. On a hollow vase: drain holes with a slope towards them, a hollow foot, an open wall (“ผนังฉลุ”: Voronoi, honeycomb, diamonds or circles, for lanterns and baskets) and a “โคมไฟ”, hanging, standing on a socket or over an LED puck. On a solid vase, “โหมดแจกันแบบแข็งแรงขึ้น” cuts fine slits through which the slicer prints ribs inside or a double wall in its vase mode, in one go. Recesses for rubber feet go with either. “ต้องกันน้ำได้” raises the wall and bottom of a hollow vase to at least 1.6 mm.

On the card “อุปกรณ์เสริม” the vase gets its accessories. “ขา” can be moulded on, so they are part of the vase, or made to plug in, with sockets in the bottom; a stand holds the vase from below. A “จานรอง” catches the water, or hides in the foot. A hollow vase can take an “ตัวใส่ด้านใน”: a plant insert, one with a water store for a pot that waters itself, a holder for stems or water tubes. A “ฝา” slips over the rim, snaps into a groove or screws onto a thread in the wall. As a “ฝากาน้ำชา” the top of the vase itself becomes the lid, as on a teapot: “ความสูงฝา” (or “ตัวแจกันถึง · ฝาเริ่มที่”, from the bottom) sets how much, the pattern and the twist run on across the joint, a lip holds it in the opening, and “ปุ่มจับ (พิมพ์แยก)” adds a knob that is glued into a hole on top. “จัดวางอุปกรณ์เสริม” lays the parts out beside the vase as objects of their own, ready to print, upside down where that prints better. The vase already has the sockets, groove or thread. After changing a setting, lay them out again: the parts from before are replaced. If a part does not fit this vase, the editor says so, for example when an insert would not get through a narrow neck.

The card “การพิมพ์” tells what the vase takes to print: its weight in the chosen “วัสดุ” and the length of filament – for a solid vase worked out for the slicer's vase mode, one line along the wall. Below are notes on printing it: an overhang of more than 45° and where it is, a wall that is too thin, what a lid, a lamp or legs need, and the slicer settings for ribs and a double wall. A teapot lid is checked as it prints, upside down on its top: there a shoulder that narrows towards the rim overhangs.

“ความละเอียด” sets how finely the vase is divided into triangles: finer looks smoother, but makes the editor slower with large vases.

4. Selecting and arranging

Selecting shapes, finding them in the object list, aligning, mirroring, rotating, laying flat on a face and multiplying in patterns.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Selecting

A click on a shape selects it. With Shift you add more or take them away again. While Shift is held and two or more shapes are selected, a small number below the mouse pointer counts them. A click on empty space clears the selection, and so does Esc. Drag a frame on the empty workplane to select everything it touches; with Shift held, the frame adds what was not selected and takes away what was. If you would rather pick one part out of a cluster, switch on “ทิศทางการลากกรอบเป็นตัวกำหนด” in the settings (area “หน้าตา”): a frame dragged to the right then takes only what lies completely inside it, one dragged to the left still everything it touches, and its line is dashed. Hold Alt while you drag to turn the frame around for that one drag, for example to take whole bodies from the side where the direction would not allow it. And Ctrl+A selects all visible bodies. While you drag a body or a handle of the frame, Esc cancels as long as the mouse button is still held: everything goes back as it was, and nothing is added to the history.

A shape behind another one, such as a hole inside a body, you reach without turning the view: right-click the spot and choose “เลือกชิ้นอื่น…”. The menu then lists every shape under the pointer, from front to back. The one your pointer is on is outlined in the view, even through the shapes in front of it; a click selects it, and with Shift it is added to the selection. The entry is there whenever more than one shape lies under the pointer; on a tablet, a long press opens the same menu.

What is in your way you hide (“ซ่อนที่เลือก”, Ctrl+H). Hidden shapes stay in the design, they are just not visible and stay out of the export; the export window says beforehand how many there are. Ctrl+Shift+H brings them all back. What should stay put you lock with the padlock at the top of the settings or with Ctrl+L. A locked shape cannot be moved, resized, turned, recoloured or deleted: its handles turn grey, a padlock shows beside the arrow on top, and the tools that would change it are greyed out. Hovering a handle still shows its sizes, and a key that would change it says "Object locked". While one locked shape is in the selection, nothing changes for the others either. Hiding, renaming, copying and duplicating still work. To keep a part as it is and still build with it, lock only its shape: the shield beside the padlock, “ล็อกรูปทรง” in the right-click menu, or Ctrl+Shift+L. It can still be moved, turned, lifted, lined up, copied and grouped with others, but its size, its settings and its name stay as they are: the handles that change its size are gone, the fields for them are greyed out, and resizing, mirroring, ungrouping, the edge tools and deleting are refused. A copy keeps the lock, and so does the part inside a group, which can then be moved and taken apart again but not resized. The object list has the shield as well, beside the padlock: a part whose shape is locked always shows it, the others show it on the selected row and under the mouse, and a click on it locks or unlocks the shape.

To work on a few parts deep inside a design, select them and choose “ซ่อนชิ้นอื่น” in the right-click menu or under “ตัวเลือกการแสดงผล”: everything else is hidden in one step, so Ctrl+Z or Ctrl+Shift+H brings it back. “สลับที่เลือก” in the right-click menu selects every visible shape that was not selected and lets go of the ones that were. Both are in the command search (Ctrl+K) as well, where you can also give them a key of your own.

A number on the button of the group “การแสดงผล” says how many shapes are hidden, and a click on it shows them all again. A design that is opened with hidden shapes says so once, with a button to show them. A part you hide while a group is open stays hidden when you close it with “เสร็จ”: the group keeps its size and the parts left stay as they are, the hidden part still counts when the group is aligned, and showing all hidden shapes leaves it alone. Open the group again to show it.

The object list

With many parts it is easy to lose track in the view. The object list (“แสดงรายการวัตถุ” or Ctrl+Shift+O) shows all shapes as a list. It stays open or closed as you left it, for every design, until you close it; the choice is kept in the browser.

• A click on an entry selects the shape, including parts inside a group. With Shift held you add more entries or take them away again, just as in the view. The arrows fold groups open and shut.
• The letter after the name says whether a part is “ชิ้นตัน” or “ชิ้นเจาะรู”: it is the first letter of the word, and the word shows when you hold the mouse over it.
• Under the name stands what kind of shape it is. A body that is no longer a plain shape (rounded, hollowed or imported) says “ชิ้นงานแม่นยำ” when the STEP export writes it exactly, and “เมช” when it is only triangles and goes as STL. A taper, lean or twist set after rounding or hollowing a body bends only its mesh, so it then says “เมช”.
• Padlock and eye lock and hide single parts.
• “เปลี่ยนชื่อ” gives a part a name of its own; the pencil beside the name at the top of the settings does the same for the selected shape. Sensible names help enormously in larger designs.
• The A–Z button in the title bar (“เรียงรูปทรงที่ตั้งชื่อแล้ว A–Z”) sorts the shapes you have named alphabetically, with numbers counted as numbers (Part 2 before Part 10). Shapes that still carry their default name stay below in the order you added them, the newest last, and parts inside groups are sorted the same way. Only the list changes, never the design. A second click shows everything in the order added again, and the browser remembers the choice.
• The handle at the left of a row (six dots) moves a shape in the list: drag it up or down, or focus it and press ↑ or ↓. That changes the design's own order, the one the list returns to when the A–Z sort is off, and Undo takes it back. With the A–Z sort or a search on, the handles are hidden.
• To put a shape into a group, fold the group open with its arrow and drag the shape by its handle onto the group's parts; the group gets an orange frame. The shape stays where it is and keeps its name, and so does the group: a group is merged again with it, a bundle just takes it in. The parts of a folded-open group have a handle of their own: drag one out of the group and it lies loose again, at the place in the list where you drop it, or drop it on another folded-open group to move it there. A group left with one part is gone and leaves that part. Undo takes each of these back in one step. While you are editing a group, this is off.
• The search field finds shapes by name and by kind, so also "cylinder" or "hole". It also looks inside groups, however deeply nested: a group holding a match stays in the list and folds open to show the matching parts and the groups that lead to them. A group found by its own name shows all its parts when you open it.
• The arrow on the far left of the title bar folds the list down to its title bar and back.

The list sits docked just right of the view cube. Drag it by its title bar to put it anywhere on the workplane; it passes underneath the view cube and the view bar. Drop it back beside the view cube, or double-click the title bar, and it docks again. Where it was and whether it was folded are remembered in this browser. To make the list wider or narrower, drag its lower right corner, from 240 to 600 pixels; the width is remembered in this browser as well.

Typing a position

The card “ตำแหน่ง” in the properties panel shows where the selected body stands, and you can type it: “X” and “Y” are the middle of its box on the plate, with the same signs as the distances shown on the workplane, and “Z (ความสูง)” is the height of its underside. With “วัดจาก” at the top of the card you switch to “ขอบ”: X and Y then show the body's left and front edges, so you put an edge exactly on a measure. The setting stays until you switch back to “จุดศูนย์กลาง”. X counts to the right, Y towards the back and Z up, by the right-hand rule as in Tinkercad and CAD programs; the axis arrows on the plate show the directions. The values go in the unit you set, and the sliders reach as far as dragging does.

Parking parts beside the plate

You can drag a shape past the edge of the plate and leave it there, about one plate width beyond each side, to keep it for later. The arrow keys move it as far as you like. A parked part still belongs to the design and goes into the export with everything else. To leave it out, hide it or export only the selection. If you have picked a printer, layerling warns at export when something sits outside its plate.

Snapping while moving

When you drag a shape across the workplane, it snaps to other shapes: its left, right, front or back edge or its centre lands exactly on an edge or centre of another shape. A pink guide line shows what it is holding on to. That way two parts sit flush side by side or centred one behind the other without typing numbers. It works with the grid switched off, too. The centre of the workplane counts too: the pink lines show when the shape sits in the middle of the plate along X, along Y or both.

Resizing snaps too: when you drag a side handle, that side stops at the edges and centres of other shapes and at the wall it runs into, the inside wall of a box, a hollowed body or an imported case as well, and the pink line shows where. That size is kept exactly, off the grid. So a part fills a case from wall to wall: put it against one wall and drag its other side to the opposite one. With Alt the shape grows from its middle and the dragged side snaps the same way; with Shift it keeps its proportions and does not snap. This works on the flat workplane, for shapes standing upright with their sides along X and Y, and “จับติดรูปทรงอื่นขณะย้ายและปรับขนาด” switches it off together with snapping while moving.

Hold Shift while dragging to keep the move on one axis: the shape follows whichever direction, X or Y, you have dragged further in, and leaves the other alone. Best press Shift once you are already dragging; on a shape that is not selected yet, a click with Shift only adds it to the selection.

Or pull the red or the green arrow on top of the selection: it moves along X or along Y only, and the shape follows the mouse along that line even in a low view, where a free drag runs off far. The arrows snap as a drag does, Alt lets go, and afterwards you can click the distance moved and type the exact value.

With Alt already held when the drag begins, you drag a copy, as in Tinkercad: the shape stays where it is and the copy lands where you let go. Pressing Alt only on the way pauses snapping; the shape then follows the grid only. A copy, too, snaps only once you let go of Alt on the way. To switch snapping off for good, use the grid menu in the bottom right (“จับติดรูปทรง”) or the settings. For now only moving on the normal workplane snaps, not lifting and not resizing.

Aligning

Two or more selected shapes are lined up with “จัดแนว” (L, or right-click the selection and choose it): points appear around the selection for left, centre and right, front, centre and back, and top, centre and bottom. A click on a point moves all shapes there. If you first click one of the selected shapes, it stays in place and the others line up with it. A locked shape in the selection is that fixed shape by itself. Left, right, front, back, top and bottom go by the box round a shape; the centre of a triangle, a pentagon or a star is its own middle, so a hole centred on one sits in the middle of the shape and not of its box.

A shape turned at an angle, say by 45°, has its box round it to line up with, not its own edges. To line up with the edges, set a workplane on a face of that shape first (“วางพื้นงาน”, then click the face): the points then stand on the axes of that plane, and the shapes are measured and moved along them, as in Tinkercad. Reset the workplane to line up along the plate again.

The key is L. Esc cancels.

Matching sizes

Hold Alt while aligning and the dots turn into squares: a click no longer moves the shapes but changes their size. A dot at a side stretches each shape to that side, its other side staying where it is, as if you had dragged its handle there. The dot in the middle leaves each shape in its place and gives it the width, length or height in that direction. That way you swap a box for a cylinder of the same size, say, or replace a broken piece of a mesh with a clean shape. Move over a dot with Alt held and you see beforehand how large the shapes become.

The reference is the shape you clicked first; only the others change. Without one, the side dots stretch all shapes to the farthest side, and the middle dot gives them all the size of the largest. A cylinder stays round, so it grows in the other direction too. A shape turned at an angle stays as it is; shapes turned by 90° work.

Equal gaps

Beside the middle point of each line stands a wider dot with a bar on each side. It spreads three or more shapes in that direction so that the space between neighbouring edges is the same everywhere, whatever size each shape is. The first and the last shape stay where they are, the ones between move. A row of holes of different sizes gets the same wall between them, for example. Move over the dot and you see beforehand where the shapes go; the status bar then tells you the gap.

If a board (a base the others stand on, such as a flat box, not an SBC board) is among the selected shapes, longer in that direction than all the others, the shapes are spread on it: the gap at its edges is as large as the one between them, and a single shape comes to its middle. Shapes in several rows, such as the animals of a peg puzzle, are spread row by row; shapes whose boxes overlap across the direction form one row. Where the shapes stand in no clean columns, as the animals do from front to back, the shapes standing side by side move as a whole row instead. The whole puzzle then takes one click from left to right and one from front to back.

Without a board, hold Shift and click an empty spot of the plate first: the plate is then the fixed shape, equal gaps spread the shapes over the whole plate with the same gap to its edges, and the other dots line them up on its edges or its middle. Another click with Shift on the empty plate lets it go. A click on empty space without Shift ends Align, as L and Esc do.

Hold Alt and click the dot to type the gap yourself, say 5 mm: the shapes line up that far apart, starting at the first shape or at the one you clicked first; on a board the row comes to its middle. A locked shape stays where it is, so one between the outer shapes stops the equal gaps.

Mirroring

“สะท้อน” (M, or right-click the selection and choose it) flips the selection across a plane: “ซ้าย-ขวา”, “หน้า-หลัง” or “บน-ล่าง”. Click the matching axis arrow. That is handy for symmetric parts: build one half, copy it and mirror the copy.

Rotating and setting the pivot

You rotate with the curved arrows on the shape, with the numbers in the settings or with R in 45° steps. When you drag on the rotation circle, the turn snaps to every tick, that is every 22.5°; hold Shift for finer steps, and extra ticks appear every 11.25°. Drag outside the circle to turn freely in 1° steps, or in 45° steps with Shift. Normally the selection turns about its centre. Sometimes it should not, for example when a tilted tube is to be turned further at its end. For that there is “ตั้งจุดหมุน”: afterwards click on a face. A flat face supplies its centre, for example the axis of a tube end. On a group or a bundle the face runs on across parts that meet, as on one body, and the pivot goes to the middle of the whole face once the parts are joined, except on a group or bundle with text in it, or a bundle with a hole among its parts. The selection now turns about that point. A second click on the tool removes it again.

The angles stay with the body. In its settings, “การหมุน” shows them as “รอบแกน X”, “รอบแกน Y” and “รอบแกน Z (ความสูง)”, named like the position: Y runs across the plate, Z is up. Type an angle there and the body turns to it - about its centre, or about its own pivot if it has one. While a turned body is selected, its angles also show below it on the workplane; “แสดงมุมของชิ้นงานที่หมุนไว้” in the settings switches that off.

With one body selected, the pivot belongs to that body: select other parts and come back, and it is still there. It moves, turns and scales with the body, is saved in the project and comes back with Undo. Under “ตำแหน่ง” the pivot has its own X, Y and Z, which you can type or nudge, and “ลบออก” takes it away. You can also drag the pivot's red marker with the mouse: it slides over the surface of the bodies and snaps to corners, edge midpoints and edges, so a hinge pin lands exactly on a corner. With several bodies selected the pivot is only for that selection, and a new selection removes it. Grouping or bundling them keeps it: the group takes the pivot as its own, with X, Y and Z under “ตำแหน่ง”. Hold Shift while dragging the red marker and it snaps to the centre of the face under the pointer instead - the axis of a round face, the middle of a flat one or the tip of a cone - looking through transparent bodies.

Laying flat on a face

Should a part lie on its best side for printing? Select it, click “วางราบตามหน้า” and then the face that should go down. While you move the pointer over the part, the face under it lights up, so you see which one you are about to pick; turn the view to check the other sides. The part turns so that this face rests on the workplane.

Two parts should meet face to face, or line up flush? Select the part that should move, click “จัดแนวหน้า”, then click its face and after that the face of the other part. In the tool window, “หน้าชนหน้า” puts the faces against each other (back to back, touching), “เสมอกัน” lays them in one plane side by side; “ช่องว่าง” leaves room between them, for example for clearance. “จัดแนว” moves the part: it turns the shortest way until the faces are parallel - not at all if they already are - and then slides only towards the other face, so it keeps its place sideways. The other part stays where it is, and one Undo takes it all back.

Holes on one axis: “แกนเดียวกัน” lines up round faces instead: a hole over a hole, a pin in a hole, a screw in its clearance hole. Choose it before you click the faces. Then click the round inside of a hole (or the outside of a pin) on the part that moves, and a round face of the other part; the whole round face lights up while you point at it. “จัดแนว” turns the part the shortest way until the two axes are parallel and slides it straight across onto the other axis. Along the axis it stays where it was, so a pin keeps its height; push it in afterwards. This works on imported meshes too, as long as the hole is made of facets around one axis.

A point onto a point: “จุดถึงจุด” moves the part straight, without turning it, so that one of its points lands on a point of another part. Click a corner, a spot on an edge, the centre of a round edge or a reference point on the part that moves, then the point where it should land; a dot shows which point the pointer would take. Under “ย้ายตามแกน” switch off the axes it should not move along: with only X and Y on, the point ends up straight above or below the other; with only Z on, at the same height. One Undo takes it back.

Turning by a second and third pair: after “จัดแนว” the panel stays open for a second pair of points. The first point stays where it landed, marked in blue, and “หมุน” turns the part about it until the line through its second point runs through the point you picked on the other part - so two edges come to lie on one line, even when the parts are not the same length. A third pair turns the part about the line through the two blue points until its third point faces the third point you picked, so the faces line up too - like aligning by three points in other CAD programs. “เสร็จ” ends it at any step; each step is one Undo.

An exact angle between two faces: “จัดแนวหน้า” leaves the faces parallel; there is no tool of its own for an angle between them, but this gets you there. First bring the faces together with “จัดแนวหน้า”, so they are parallel. Then set the pivot on the edge where they meet (“ตั้งจุดหมุน”, click the edge or a corner) and type the angle, 15 or 30 say, in the “การหมุน” card of the part. It turns about that pivot. The card's axes are the axes of the plate, so this works when the edge runs along X, Y or Z.

Just as simple are “วางลงพื้นงาน” (D), which drops the selection onto the workplane, and “จัดไว้กลางพื้นงาน”. With the workplane on a face, it centres on the point you picked with W and moves the selection only along that face, so what stands on it stays on it.

Alt+D drops several parts as one piece: they all go down by the same distance and so keep their heights to each other, while D drops every part on its own.

C picks the selection up, like Cruise in Tinkercad: it follows the mouse pointer and lies down on the face of another body you are over, sloped ones too. A click sets it down there, Esc leaves it where it was. Its underside then rests on the face, lined up with the face's edges as a new shape would be; it keeps its own turn about its up axis. Several parts travel together and keep their spacing. Over the empty plate, C stands a tilted part upright on the workplane again. Holding Shift while you carry sinks the part into the face instead: it stays upright, its top flush with the face and the body below it, which is how a countersink or a counterbore goes into a body; a new shape from the library is placed the same way with Shift held. Shift+D drops the selection with its top on the workplane instead of its base. Without a keyboard, the menu of a long press has “วางลงบนหน้า” for the same.

Patterns: row and circle

For hole grids, bolt circles and rings of teeth there is the “เรียงซ้ำ”. Select the shapes to be multiplied and click it in the ribbon.

• “แถว”: The selection is repeated at equal distances. The row steps along all three axes at once, with “ระยะห่าง X”, “ระยะห่าง Y” and “ระยะห่าง Z (ความสูง)”: one of them gives a straight row, two or three a diagonal row or a staircase. A negative spacing lays the row the other way.
• “กระจายให้เต็มชิ้นงาน”: For holes along a plate, a key holder or a coat rack. Put the first piece on or into the body, choose “ตามแกน X” or “ตามแกน Y” and set the “ระยะห่างจากขอบ”: the original moves that far in from the nearer end (from the edge to the piece's side), and the last copy keeps the same gap to the far end. The spacing then follows the “จำนวน (รวมชิ้นต้นฉบับ)”: five holes or nine, they always fill the plate evenly.
• “ตาราง”: For the holes of a perforated plate or a field of equal pieces. “คอลัมน์ตามแกน X (รวมชิ้นต้นฉบับ)” and “ระยะห่าง X” lay the columns side by side, “แถวตามแกน Y (รวมชิ้นต้นฉบับ)” and “ระยะห่าง Y” the rows from front to back. One column or one row gives a single line. A grid has at most 100 pieces; past that the rows are cut back, and the window says so.
• “วงกลม”: The selection is spread around a centre. How many copies there are you set under “จำนวน (รวมชิ้นต้นฉบับ)”, and the “มุมรวม” is 360° for a full circle. Choose whether the copies turn along. “ระยะยกต่อชิ้น” lifts every copy a little more than the one before (a screw or an ascending spiral), and “การเปลี่ยนรัศมีต่อชิ้น” moves it further from the centre or closer to it (a flat spiral); together they give a conical spiral. A spiral winds once around at most: an angle above 360° counts as a full circle, and there are at most 100 copies.

Tip: first set the pivot on a face with “ตั้งจุดหมุน”, then the centre of the circle lies exactly there.

Afterwards the pieces keep the circle's centre as their pivot, also once grouped. That is where another part belongs, for example a ball in the middle of three legs: the middle of the pieces' box is not the centre, since three legs fill a box wider one way than the other. Right-click the pieces and choose “ทำเครื่องหมายจุดหมุน”, and the centre of the part you drag snaps onto it.

The copies first appear as a preview. Only “สร้าง” creates them. If the copies are holes, group them afterwards with the body they should cut into.

With “รวมกลุ่มสำเนา” ticked, “สร้าง” groups the original and all copies into one object in the same step, as “รวมกลุ่ม” would: a ring of 36 pieces is then one part you can move, colour or cut with. Above 5 pieces the box ticks itself; once you tick or untick it yourself, it stays as you set it. “แยกกลุ่ม” brings the pieces back. If grouping does not work out, the pattern still comes in as separate pieces and the message says why.

Hole pattern on a face

For vents, speaker grilles, baskets and enclosures the “รูเรียงซ้ำ” spreads holes evenly over a flat face or round the wall of a cylinder. You no longer have to make one hole, repeat it and set it onto the wall. Select exactly one body and click “รูเรียงซ้ำ” in the “สะท้อนและเรียงซ้ำ” group of the ribbon, next to the pattern. You can also right-click the body, or find it with Ctrl+K.

1. Click a flat face of the body. The whole flat face around your click counts, not just the triangle under the pointer. The round wall of a cylinder, a tube or a bore works too, see below; any other curved face does not: you get a hint and click a flat one instead. On a group or a bundle a face runs on across parts that meet, as on one body; on a bundle only when no hole is among them. The parts are joined shortly after the tool opens; until then only one part's face lights up under the pointer, and a click waits for the join. On a group or bundle with text in it, only one part's face lights up, and the click joins the parts.
2. In the window, set how the holes look and lie:

• “รูปร่างรู”: “กลม”, “สี่เหลี่ยมจัตุรัส”, “สี่เหลี่ยมผืนผ้า”, “หกเหลี่ยม” or “ร่องยาว”.
• Size: the “เส้นผ่านศูนย์กลาง (Ø)” of a round hole, the “ความยาวด้าน” of a square one, “กว้าง” and “สูง” for a rectangle and a slot. For the hexagon the size is the “เส้นผ่านศูนย์กลางวัดจากมุมถึงมุม (Ø)”.
• “มุมของรู”: rectangles and slots only: turns every hole in the face by that many degrees, counter-clockwise as you look at the face, from -90 to 90. The rows stay straight; if turned holes would come too close, even diagonally, layerling widens the spacing and the row spacing so a wall stays between them.
• “ความเอียงทะลุผนัง”: flat faces only, not with a counterbore, countersink or own shape: slopes every hole through the wall, from -60 to 60 degrees. On a standing wall a positive slope puts the inner end higher, so rain runs back out. The size stays the hole's own, so it shows a little longer on the face; both ends of each hole keep the margin. A slope only hides the inside when the wall thickness times sin(angle) is at least the hole's height, so use low slots or a thicker wall for that.
• “รูปทรงเอง”: repeats a shape from the scene in place of a hole: a rivet, a stud or the tread of a diamond plate. Choose it under “รูปทรงจากในฉาก”. Its width and depth are the room it takes; it stands upright on the face as it was made, without its own turn. A body is set onto the face and joins it, a hole is cut in as deep as it is high. The shape itself stays where it is.
• “ชนิดรู”: round holes only. “รูธรรมดา” is a straight hole, “รูจมหัวสกรู” adds a pocket for a cap screw's head, “รูเตเปอร์” a 90° cone for a countersunk screw. The size is then the “เส้นผ่านศูนย์กลางก้านสกรู”; “เส้นผ่านศูนย์กลางหัวสกรู” and, for the counterbore, “ความลึกหัวสกรู” set the head. “ขนาดสกรู” fills them all in for a metric screw. On a countersink it also offers the inch sizes #2 to #14, whose cone has 82°.
• “ระยะห่างจากศูนย์กลางถึงศูนย์กลาง”: the distance from one hole's middle to the next. If it is smaller than the holes allow, layerling raises it to the smallest possible value so a wall stays between the holes. For rectangles and slots it counts along the row, from left to right.
• “ระยะห่างแถวจากศูนย์กลางถึงศูนย์กลาง”: rectangles and slots only: the distance from one row to the next. So narrow, tall holes stand close side by side while the rows keep apart. A hole 2 mm wide and 14 mm high needs 4 mm along the row and 16 mm from row to row with a 2 mm wall.
• “ผนังระหว่างรู”: the same distance said another way: the wall left between two neighbouring holes, which is the wall thickness in the print. Set it and the spacing centre to centre follows (for rectangles and slots the row spacing too), and the other way round. For hexagons, rectangles and slots layerling measures the least distance between their edges.
• “การจัดวาง”: “ตาราง” puts the holes in rows and columns. “สลับฟันปลา” shifts every second row by half a spacing and moves the rows closer, so every hole has neighbours at the same distance - with hexagons that makes a honeycomb.
• “ตามแนวขอบ”: a ring of holes along the outer edge of the face instead, “ระยะห่างจากขอบหน้า” in from it - screw holes round a lid or a plate. “กระจายตาม” “ระยะห่าง” keeps about the spacing, “จำนวน” sets the “จำนวนรู”; either way the spacing is evened out so the ring closes without a gap. “มีรูที่ทุกมุม” (on at first) puts a hole on each corner and shares every side out evenly between them. On a round face, or with the box unticked, the holes go evenly round from the top, and “จุดเริ่มตามแนวขอบ” moves the whole ring along the edge.
• “ระยะห่างจากขอบหน้า”: the clear distance between the holes and the edge of the face. Only holes that lie wholly inside the face minus this margin are made; anything that would reach beyond it is left out. The margin also holds around openings in the face.
• “ความลึก”: “ทะลุทั้งชิ้นงาน” (the default) cuts through the whole wall. With “กำหนดความลึกเอง” you give the depth in millimetres, for recesses, say.

1. The holes show at once as a preview on the face and follow every value. The window says how many holes fit. “เลือกหน้าอื่น” chooses another face, Esc closes the tool, and like the other tool windows it moves by its title bar.
2. Only “สร้าง” makes the holes.

The holes are ordinary holes grouped with the body, just as after “รวมกลุ่ม”: nothing is baked in. “แยกกลุ่ม” dissolves the group again and frees every hole, which you can then move, change or delete one by one. The whole thing is one step for “ย้อนกลับ”. The tool does not make more than 400 holes at once; make the holes bigger or the spacing wider then.

The round wall of a cylinder, a tube or a bore takes holes too: a pen holder, a lamp shade, a tube with vents. Click the wall instead of a flat face; the whole wall lights up under the pointer. Every hole then points straight at the axis, and the rows go round the wall. On a wall that goes all the way round, each row holds a whole number of holes, evened out so the ring closes without a gap and never closer than the spacing; the window says how many go round and how far apart. The margin holds to the rims at the top and the bottom and to openings in the wall, on a part of a wall (a rounded edge, say) to its sides as well. “ทะลุผนัง” cuts through the one wall you clicked and leaves the far side of a tube whole; on a solid cylinder the holes go in to its middle. Clicked inside a bore, the holes go outward through its wall. “ตามแนวขอบ” is for flat faces and is not offered on a wall.

An AI can do the same through the MCP bridge with layerling_perforate_face (see the chapter AI with MCP).

Pushing a face out or in

For a thicker wall, a raised pad on a face or a pocket cut into it, the “หน้า” tool works on one flat face. It works on an imported STL too, where there is no sketch to change. Select exactly one body and click “หน้า” in the “สะท้อนและเรียงซ้ำ” group of the ribbon, next to the hole pattern. You can also right-click the body, or find it with Ctrl+K.

1. Click a flat face of the body. As with the hole pattern, the whole flat face around your click counts; a curved face does not work here, a round wall neither. On a group or a bundle the face runs on across parts that meet, as with the hole pattern.
2. In the window:

• “ทิศทาง”: choose “ออก: เพิ่มเนื้อวัสดุ” for material standing on the face or “เข้า: เจาะเป็นหลุม” for a pocket cut into it. A pocket goes no deeper than the body behind the face; on a hollow body it can still reach the cavity.
• “ระยะร่นเข้าจากขอบหน้า”: how far the new outline stays inside the face's edge. Going out, 0 takes the whole face, which makes a wall thicker. Openings in the face grow by the same amount.
• “รัศมีมุม”: rounds every corner of the outline, the inner ones too, so a sharp tip ends in an arc. A notch narrower than twice the radius closes, and a part of the face narrower than twice the inset and the radius together is left out.
• “ความลึก”: how far the new part stands out of the face, or how deep the pocket goes.
• “เป็นชิ้นงานแยก (ไม่รวมกลุ่ม)”: with the switch on, the new part (or the hole of a pocket) is a body of its own beside the body instead of a group with it, so you can resize it, move it or use it to cut at once.

1. The result shows at once as a preview and follows every value. “เลือกหน้าอื่น” chooses another face, Esc closes the tool.
2. Only “สร้าง” makes it.

What the tool adds is an ordinary sketch body, grouped with the body unless “เป็นชิ้นงานแยก (ไม่รวมกลุ่ม)” is on (then “แก้ไขกลุ่ม” has nothing to open, and the part is free): nothing is baked in. “แก้ไขกลุ่ม” opens the group, and “แก้ไขสเก็ตช์” on the new part shows the outline it follows. On the top or the bottom of a plain sketch body - one area, not grouped, mirrored, tapered, twisted or leaning, and without a stroke, key ring, fillet or chamfer - that is the body's own outline, set in when it is built, so its lines and arcs stay exact wherever the CAD kernel can set them in, for the edge tools and the STEP export. Resized later, the part keeps its inset. On any other face, and on every face of an imported mesh, the outline follows the face's triangles, and a curve is made of short straight pieces. The whole thing is one step for “ย้อนกลับ”. To change the inset or the radius later, undo and run the tool again. To round the top edge afterwards, use “ลบมุมโค้ง” with “ขอบด้านบน” on the group as the last step: like every edge treatment on a group, it joins the group into one body.

An AI can do the same through the MCP bridge with layerling_push_face (see the chapter AI with MCP).

Changing several parts at once

With several parts selected, the properties panel on the right shows how many there are and offers what applies to all of them together: “ชิ้นตัน” or “ชิ้นเจาะรู”, one colour for all (a click on “ชิ้นตัน” opens the colours) and the lock. With a mixed selection, one click makes them all solids or all holes. If any of the parts is locked, only the lock can be used. Sizes are changed with the handles, with “ย่อ/ขยายเป็นเปอร์เซ็นต์” or by typing a number into a size label. With several parts the number is the size of the whole selection: every part grows with it, the spaces between them too, as when you drag a handle. Solid and hole also work with a right-click or the S and H keys.

Scaling by percent

To make one or several parts larger or smaller by the same share, say all the parts of a print file by 20 %, use “ย่อ/ขยายเป็นเปอร์เซ็นต์”. Select the parts, right-click them and choose “ย่อ/ขยายเป็นเปอร์เซ็นต์”, or search for it with Ctrl+K.

Under “ขนาดใหม่” you type the new size as a percentage of the current one: 120 % is a fifth larger, 50 % half the size. Width, depth and height change alike, so the proportions stay. The bottom stays where it is, so nothing sinks into the plate.

With several parts you choose how they grow:

• “พร้อมกัน”: The parts grow around their common centre, and the gaps grow with them. The whole becomes larger as if it were one part.
• “แต่ละชิ้นอยู่กับที่”: Every part grows where it stands, and the gaps between them stay the same.

The percentage field has the focus when the window opens, so from the keyboard it is Ctrl+K, the percentage, Enter; Esc closes the window. Only “ย่อ/ขยาย” (or Enter in the field) changes the design, and one step back undoes it. With a locked part in the selection it does not open.

Undoing

“ย้อนกลับ” (Ctrl+Z) and “ทำซ้ำ” (Ctrl+Shift+Z or Ctrl+Y) step through your history. How many steps travel with the saved design you set in the settings under “ประวัติ”. Point at either button and its tooltip names the step it would take back or bring again, with the measure where the step has one, such as "Rounded the edges of Box (5 mm)" or "Moved 3 objects (12 mm)"; the message after the step says the same. To go back several steps at once, use the history view below. A message that reports a step just taken, such as "3 shapes deleted", has an Undo button that takes exactly that step back.

Looking back: the history view

“ประวัติ”, next to undo and redo, opens a view of your history without changing anything. The work area shows the design as it was, and a slider at the bottom runs through every undo step: all the way to the right is the current state, each step to the left is one undo earlier, and states you have undone sit to the right of the current one. The arrow keys step through the states, Esc returns to the current state. The mouse wheel over the slider does the same, one state per notch, up to an earlier one; Page Up and Page Down jump ten states, Home goes to the oldest state and End back to the current one. You can turn and zoom the view meanwhile and click objects to bring them back (see below), but nothing can be moved; the design itself stays exactly as it is. If the bar covers something, drag it away by its title bar; a double-click on it brings it back. The list button in the title bar shows every step by name in a list, the newest at the top: a click on a step goes to that state, the state the design is at is marked “ตอนนี้”, and steps you have undone are grey. The list stays open the next time if you leave it open. The two play buttons under the slider run the history like a film: the one pointing right plays forwards from the state shown, the one pointing left plays backwards, each state for a moment, until the end; pressing the same button again pauses, and moving the slider, the wheel, the keys or the list takes over. Started at the end of its way, it begins again from the other end. “ความเร็ว” sets how long each state stays (slow, normal or fast) and is remembered for next time. Record the screen while it plays to show how a part came about.

Two things you can take along from an earlier state. “สร้างโปรเจกต์ใหม่จากสถานะนี้” puts that state into a new design in the overview, named after this one with the time of that state in brackets - a design saved before layerling recorded times says "copy" instead - and with the history up to that point, so undo keeps working there. “ส่งออกสถานะนี้” opens the usual export with that state as the design, so you can save it as STL, 3MF, STEP, a picture or a LYL file with the history up to that state.

You can also bring single objects back into the design. Click an object in the state shown - Shift+click adds more or takes one off again, a click on empty space picks nothing - and choose “นำกลับเข้างานออกแบบ”. The view closes and a copy of each object lands in the current design exactly as it was in that state and at the spot it had there, selected, next to whatever the design holds now; nothing else changes. It is one step, so undo takes it back. Use it for a version of a part you changed since, or for one you deleted. A group comes back whole; notes and reference points on an object stay behind. Its name carries the time of that state, such as “Box (12:32)”, so it is easy to tell from the version the design has now. To bring back a part from inside a group, select the group and choose “เปิดกลุ่ม” or press E, as in the design: its parts are laid out where editing the group would put them, ready to pick, and the bar says which group you are in. “ออกจากกลุ่ม” closes it again. This is only to look - the group, the design and the history stay as they are.

“ลบประวัติ” sits alone at the bottom left of the bar. After a question it removes every earlier step for good: the design keeps the state it has now (not the one shown), Undo has nothing to go back to and a file saved afterwards carries no history. Use it to share a design without its past, or to start the undo steps over. It cannot be undone; to share a file without touching your own design, choose “ไม่มี” when exporting instead.

5. Solids and holes

How simple shapes become bores, slots and pockets, and how to change a group again later.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

This is the most important idea in layerling, and it is quickly learned: Every shape is either a solid or a hole. A solid stays. A hole is a tool that takes material away.

Solid or hole

Select a shape and click “ชิ้นตัน” or “ชิ้นเจาะรู” in its settings. The keyboard is faster: H makes the selection a hole, S makes it a solid again. Both are also in the menu a right click on the body opens. A hole is shown see-through so you can see where it sits. T makes a body see-through, say to look into a housing; a second press makes it opaque again. It works on the whole selection: if any body is already see-through, all become opaque, otherwise all become see-through.

As long as nothing is grouped, nothing happens with a hole. It just lies there and shows where something will disappear later.

Grouping

Select solids and hole(s) and click “รวมกลุ่ม” (Ctrl+G). Now the holes remove the material from the solids they touch. What remains is one single new shape.

This is how you get:

• Bores: a cylinder as a hole through a body.
• Slots: an elongated box as a hole at the edge.
• Pockets: a hole that does not go all the way through.
• Threads in a part: a tapped hole as a hole, see Threads and mechanics.

If several solids are in the group, they are joined. Two solids that touch become a single part.

With large meshes, such as an imported STL with hundreds of thousands of triangles, the cut takes a few seconds. layerling then works in the background and shows "“กำลังคำนวณ… ทำงานต่อได้เลย”"; meanwhile you can turn the view and use the interface. If you change the scene in that time, the result is dropped and layerling tells you so. The same goes for “ผ่าชิ้น”.

You can treat a group like a shape: move, rotate, colour, group again. “แยกกลุ่ม” (Ctrl+Shift+G) dissolves it and the individual parts are back.

Making a group a hole

A whole group can also be a solid or a hole. A simple rule applies:

• If the group consists only of solids (or only of holes), you switch it as a whole and its parts go along.
• If it contains both, say a cube with a bore, each part keeps its own state. The whole group then becomes a tool, but the bore stays a bore.

Resizing a group: keeping holes and small parts

When a group is made longer, wider or taller, its parts stretch with it as if they were drawn on rubber: the round holes in a plate become ovals and move inwards. To keep them as they are, choose “คงขนาดรูและชิ้นส่วนเล็ก” under “เมื่อปรับขนาด” in the group's settings; “ยืดทุกอย่าง” is what every group does until you change it. From then on, each time the group is resized - with the handles, the size fields or “ย่อ/ขยายเป็นเปอร์เซ็นต์” - it is built again from its parts by one rule, along each direction on its own:

• A part that reaches across nearly the whole group, nine tenths of it or more, grows or shrinks with it and keeps its distance to both sides: the plate itself, a wall, or the inside of a box, whose walls stay as thick as they were.
• Every other part keeps its own size and its distance to the nearer side. A part in the middle stays in the middle.

So a plate with a hole 5 mm in from each corner and a slot in the middle, made 40 mm longer, keeps its holes round and 5 mm from the corners, and the slot in the middle. There is no solver behind it and nothing to set up part by part: the same rule holds for every part, so you can tell beforehand what will happen. A turned part counts with the box it takes up in the group and stays turned; a group inside the group counts as one part. While you drag a handle, the group stretches as a whole; when you let go, it is built again, in the same undo step. Made smaller than a part needs with its distance, that part shrinks with the group as before, and a message says so. A mirrored, tapered or twisted group, and one with fillets, chamfers or a texture of its own, always stretches everything. Chosen for a group that is stretched already, the setting lays its parts out again at once.

Bundling

Sometimes parts should only stay together without becoming one - a white logo on a black plate for a multicolour print, say. That is what “มัดรวม” (Ctrl+B) is for, as in Tinkercad. A bundle moves, turns and resizes like a shape, but nothing is merged:

• Every part keeps its colour and stays a solid or a hole. The bundle's settings have the same cards as a group's: “ชิ้นตัน” and “ชิ้นเจาะรู” for the whole bundle (which keep the parts' colours), “โปร่งใส” (T) and “หลายสี” (Shift+M); with Multicolor switched off the bundle shows and exports in one colour. “แยกชิ้นส่วน” takes the bundle apart, as Ctrl+Shift+G does.
• Holes cut nothing. When you group the bundle with other parts, its holes cut those parts but still not the bundle's own solids, as in Tinkercad. So a peg with its hole beside it, say, can be used again and again as a bundle.
• In an STL, 3MF or OBJ export every part is a body of its own; in 3MF and OBJ with its colour.

“แยกกลุ่ม” (Ctrl+Shift+G) takes a bundle apart again, E opens it for editing like a group. Chamfer, fillet and hollowing do not work on a bundle, because it is not one body: group it for that, or work on its parts one by one. If a hole in the bundle should cut the bundle's own solids too, take the bundle apart and group its parts (Ctrl+G).

Intersection

“เอาเฉพาะส่วนที่ซ้อนกัน” keeps only what two or more bodies have in common. Lay two overlapping shapes on top of each other, select both and click it. That turns a cylinder and a box into a piece with one round and one straight side. A group counts the way it looks, holes included. If a hole is selected too, what remains is what all the solids share with all the holes. If the shapes share nothing, nothing is changed and a message says so. The first click shows the common part before it is applied: the selected shapes turn see-through and what they share is drawn in green. Select and move each shape on its own and the green part follows; a second click on “เอาเฉพาะส่วนที่ซ้อนกัน” applies it, Esc closes the preview. Shapes with too many triangles for the preview, such as large imported meshes, are intersected on the first click.

“ห่อรวม (Hull)” wraps the selected shapes in one convex body, as if they were shrink-wrapped: the smallest body without dents that holds all of them. A half sphere on a cylinder becomes a dome with no step, four cylinders at the corners become a box with round corners, two spheres a capsule. Holes in the selection are cut out of the hull afterwards. The parts stay in it: “แก้ไขกลุ่ม” opens the hull like a group, and moving a part there and closing it builds the hull anew. The hull is a mesh, so round shapes show facets, and the edge tools work on it as on any mesh. When only holes are selected, the hull is a hole itself: two cylinder holes cut a slot. A hull fills whatever is hollow in its parts: a tube, a cylinder hollowed with “ทำกลวง”, a part grouped with its holes. Switch on “คงรูของชิ้นส่วนไว้” under Properties to keep them open: the hull then only fills the space between the parts, and a recess at the side of a part stays as well.

“พิมพ์กดคุกกี้” makes a cookie cutter from the selection: a thin wall round the outline, standing 15 mm high, and a flat rim of 2 mm round its foot, so the cutter stands on the rim and a thumb has something to press. Select one imported SVG or one sketch body and its own outline is used. A text lying flat gives its letters' own curves. Any other shape, a built one, an imported mesh or several parts, gives what it stands on: the outline the workplane cuts through it, so put it on the workplane first. Parts that overlap give one outline round all of them, as if they were grouped; parts apart from each other give a cutter each, in the same bundle. The outline is mirrored left to right: the cutter is printed standing on its rim and turned over to cut, so a text or a logo comes out the right way round on the dough. The wall's top runs in to a cutting edge 0.4 mm wide. Holes in the outline, the inside of an e or an a, get walls of their own, so they are cut out of the cookie too. They are a body of their own in the bundle, “ผนังด้านใน”: to have a text or a pattern only pressed into the dough instead of cut out, make them lower under Properties. With a wall of 15 mm and dough 5 mm thick, inner walls of 12 mm press 2 mm deep. Inner walls lower than the outer wall have a flat top instead of the cutting edge: they only press, and an edge would leave thin tips that break off and grooves that hold dough. Give them an edge under Properties if you want one. Two bridges at the rim, on the side your hand presses, hold each inner wall to the wall round it, spread round it, 4 mm wide and 3 mm high. Each bridge stands with its whole width on the walls, in the middle of a side that runs along the outline, and never across another piece. Pieces side by side, such as the letters of a name, are also joined to each other, the closest first, so the bridges run as a web through all of them and a letter in the middle of a word is held as well. A click on the tool opens a small window: there you choose a “แผ่นฐาน” instead of the bridges, which fills the whole outline on the side you press, is steadier and sticks better to the print bed, but no longer lets you push the dough out from behind. “ลบมุมโค้ง” puts small 45° slopes where the walls stand on the rim, the bridges or the plate, so thin parts such as the dot of an i do not break off; they are a body of their own in the bundle. There you also set how much lower the inner walls are and whether the outline is mirrored; the values stay for the next cutter. Change their height under Properties like the rim's. The cutter replaces the selection as a bundle of sketch bodies, “แก้ไขกลุ่ม” opens it. Wall, inner walls and rim are the sketch fill modes, a line outside the silhouette: change the thickness, height or colour of each under Properties, and the wall's “คมตัด” there too (0 for a flat top). Where a tight bend leaves no room for a chamfer on both sides, the wall is bevelled on its outside only, to the same edge. Where an outline cannot be chamfered at all - a logo with sharp points, an outline cut from a body's triangles - the edge is built in fine steps of 0.1 mm instead, which a print layer of 0.2 mm cannot tell from the slope; such a wall is a triangle mesh rather than an exact body. To keep the outline as drawn, mirror the cutter back with “สะท้อน”, “ซ้าย-ขวา”. A PNG or JPG picture works too: imported, it is traced into a sketch body, and the cutter follows that one.

“เชื่อมสเก็ตช์เป็นชิ้น” joins two sketch bodies or imported SVGs into one body: the outline of the lower one at the bottom, the outline of the upper one at the top, with straight walls between them. That makes a funnel, a transition piece from square to round, or a frame that narrows towards the top. Put the two bodies one above the other where they belong, shifted and turned if you like, select both and click the tool. The loft reaches from the bottom of the lower body to the top of the upper one.

Each of the two needs exactly one outline. If it has a hole, a ring say, the other needs as many, and the holes are lofted too: two rings give a hollow wall. A sketch built as a line (a line outside, inside or centred under Properties) counts as such a ring. An imported SVG comes in filled; to make it a ring, give it a line under Properties. Both bodies must lie flat; the tool refuses tipped ones.

The loft is an exact CAD body; the edge tools and the STEP export take it as one. The two sketches stay inside it: “แก้ไขกลุ่ม” opens them like a group, and moving or changing one there, or editing its sketch, and closing it builds the loft anew. “แยกกลุ่ม” sets the two sketches free again. For two rectangles, circles or polygons there is also the Loft shape among the shapes, whose ends you set as numbers.

Cutting one body out of another

For parts that have to fit, a shaft in a collar, a bolt in a case, you make the one part and cut it out of the other. Select the two bodies and click “เจาะตามรูปชิ้น” in the “รวมชิ้น” area, or right-click and choose it there. The tool window names the part that stays and the body that gets the cavity; layerling takes the smaller one as the part, and a click on “สลับสองชิ้น” turns it around. The “ระยะเผื่อ” makes the cavity that much larger than the part on every side: 0 fits exactly, 0.2 mm is a usual room for a printed fit. “เจาะ” cuts a copy of the part out of the other body and leaves the part itself where it is. The result is a group: “แยกกลุ่ม” takes the cut apart again. A clearance needs the part to be an exact body, like the “ขยาย/หดผิว” tool, which it uses.

Punching an outline through a body

To cut the outline of one body straight through another, select the punch first and then the body to punch, and click “เจาะทะลุ” in the “รวมชิ้น” area, or right-click and choose it there. The two need not touch: the punch can stand anywhere in front of the body, and only its outline seen along the “ทิศทาง” counts, so a teapot held over a plate leaves a teapot-shaped opening. layerling starts with the axis along which the punch stands furthest from the body; X runs left to right, Y front to back, Z up. “สลับสองชิ้น” turns the roles around, and the “ระยะเผื่อ” makes the opening larger on every side, 0.2 mm for a printed part that has to pass through. “เจาะ” groups the opening with the body as an exact sketch body set to hole, so “แยกกลุ่ม” takes it out again; the punch stays where it is. Move or turn it and punch again for another opening.

Editing a group

If a bore turned out too small, you do not have to dissolve the group and rebuild. Select the group and click “แก้ไขกลุ่ม” in its settings, the folder icon in the object list, or press E. In the object list you can also open the group with its arrow and click one of its parts: the group opens with that part selected. A double click on the group does the same, as in Tinkercad, on a bundle too; if you would rather not, switch off “ดับเบิลคลิกเพื่อเปิดกลุ่มหรือชุด” in the settings. A part only starts to move once the pointer has been dragged a few pixels, so a shaky click or double click does not nudge it. The parts now lie separately and you change them with every tool: make a hole larger, move a body, add a hole.

A bar appears at the bottom of the picture. “เสร็จ” rebuilds the group, with its name, its colour and its state as solid or hole. “ยกเลิก” puts it back untouched.

If one of the parts is itself a group, you can edit it the same way, and so on as deep as your design goes. The bar shows where you are, for example "Bracket › Screw boss". “เสร็จ” and “ยกเลิก” always finish the innermost group and take you one level back out. While you are inside a group, only the groups among its parts can be edited; to edit another one, finish first.

Unlike “แยกกลุ่ม”, which takes a group apart for good, editing keeps the group: its name and settings stay, and you can always go back with “ยกเลิก”.

A note: fillets and chamfers you had put on the whole group are lost on rebuild. The bar tells you so.

Splitting

“ผ่าชิ้น” in the “ผ่าชิ้นและปรับรูปทรง” area cuts the selection in two with a plane - a part too big for the print bed, say, or one you want to see the inside of. Select one or more solids or holes and click it. A translucent plane shows exactly where the cut will go, and a white line marks it on the bodies themselves, where the plane meets them; nothing changes until you apply it.

• “ทิศทางของระนาบ”: X makes an upright cut between left and right, Y between front and back, Z a horizontal cut between top and bottom. The axes are named as on the Position card, with Z up. The plane starts parallel to the workplane, so on the base plate with Z.
• “จัดแนวตามพื้นงาน”: “ขนาน” lays the plane parallel to the workplane, “ตัดขวางแกน X” and “ตัดขวางแกน Y” stand it square to it, across its X or Y direction. Where the workplane's origin crosses the selection the plane goes through it, otherwise through the middle. On the base plate “ตัดขวางแกน X” and “ตัดขวางแกน Y” always go through the middle of the selection, as the middle of the plate has nothing to do with the parts. So you put the workplane on a sloped face with W and cut right there, without turning the sliders.
• “ตำแหน่งระนาบ”: where the plane crosses, with the slider or typed in. It starts in the middle. You can also drag the arrow head on the plane; the plane moves along the arrow in 0.1 mm steps.
• “เลือกหน้า”, the button next to the position, lays the plane on a face: click it, then click the face. Orientation, both rotations and position are set to match. While you pick, a blue plane under the pointer shows the face it will take. A face of a body that is not selected works too, to line the cut up with it, but the plane stays within the selection. Esc stops picking and leaves the plane where it was.
• The two rotation sliders below turn the plane about the other two axes, up to 180° either way, for an angled cut. They can be combined.

“ผ่าโมเดล” or Enter makes the cut, Esc cancels (while picking a face, the first Esc only stops picking). Every object the plane crosses becomes two closed bodies, named after their side, for example "Box (Z+)" and "Box (Z-)"; objects it misses stay as they are. A hole becomes two holes, and a hollowed body keeps its cavity. Both halves stay where they were - for printing, lay each one on its cut face with “วางราบตามหน้า”.

“ตัวเชื่อม” line the halves up again, as the cut tools of PrusaSlicer, OrcaSlicer and Bambu Studio do. With “ไม่มี”, the default, the split is as described above. “เดือย” makes a hole in each half and loose pins that go into both: the pins come as a third body, standing beside the halves on their floor, to print with them - standing, they come out round in the layers as their holes do, which is what the fit test measures. “ปุ่มเสียบ” stands round pegs on the half whose name ends in a minus, with the holes for them in the other half. The connectors go in square to the plane, however it is turned, each with its diameter and 1.2 mm of material to every edge of the cut face, and two of them twice that apart. Each separate piece of the cut face gets its own, spread evenly over it: “ต่อหน้าตัด (0 = อัตโนมัติ)” says how many, and 0 leaves it to the piece's size, with at least two. A piece too small for one gets none, and a connector is left out where a half is thinner than its hole is deep; the panel says so before you split, and white rings on the plane show where they will go. If none fits at all, the parts are split without, and the status bar says so.

• “เส้นผ่านศูนย์กลาง” is that of the pins and pegs, 5 mm to begin with.
• “ความลึกเข้าไปในแต่ละครึ่ง” is how far each hole goes into its half. A dowel is twice that less 0.6 mm long and a peg 0.3 mm shorter than its hole, so they never stand on the floor of a hole and the halves close fully. Pins and pegs have a small chamfer at their ends, and each hole one at its mouth, so a first layer that spread does not narrow it.
• “เดือยบนฐานแบบหักออก”, with “เดือย”, stands the loose pins on one plate that holds on to the bed, for a printer whose bed moves and makes standing pins wobble loose. Each pin rests on a small nub in a socket of the plate; once printed, bend each one to and fro to snap it off, as the fit test's pin can be.
• “ระยะเผื่อต่อด้าน” is the room between a pin or peg and its hole. Once you have measured your printer's play with the fit test (in the chapter on printing), it starts from that, otherwise from 0.2 mm.

“หางเหยี่ยว” holds the halves together without glue, like the dovetail cut of OrcaSlicer: a tongue that widens away from the cut face stands on the half whose name ends in a minus and runs straight across it, from edge to edge, and the other half gets the matching groove, open at both ends. Slide the halves together from the side, along the tongue; once in, they cannot be pulled apart across the cut. The tongues run the long way of the cut face, and where a body meets the plane in several pieces, they run the same way on all of them, so a half slides on in one move. “ต่อหน้าตัด (0 = อัตโนมัติ)” is the number of tongues side by side on each piece; 0 leaves it to the piece's width, one for every six tongue widths, at least one. Beside its wide top a tongue keeps half its own width and another 1.2 mm of material to the edge of the cut face, and two tongues twice that apart. A piece too narrow for one, or too short along it, gets none, and a tongue is left out where the other half is thinner than its groove is deep. White outlines on the plane show where they will go: the filled strip is the tongue's foot, the line about it its wide top.

• “ความกว้างที่หน้าตัด” is the tongue's width where it leaves the cut face, 6 mm to begin with.
• “ความลึกเข้าไปในอีกครึ่ง” is how far it stands out of the cut face into the other half, 4 mm to begin with. The groove is 0.3 mm deeper, so the halves close fully.
• “มุมด้านข้าง” is how far each flank leans out from square to the cut face, from 5° to 30°, 15° to begin with. The larger it is, the wider the tongue's top and the firmer it holds.
• “ทิศทาง (0 = ตามแนวยาว)”: 0 runs the tongues lengthwise, 90 across the cut face, and an angle between turns them that far.
• “ระยะเผื่อต่อด้าน” is the room on each side between the tongue and its groove, from your fit test as for the dowels. The tongue's ends are chamfered all round so it finds the groove, and the groove has a chamfer at its mouth.

For printing, lay the half with the groove on its cut face, and print the half with the tongue the other way up, its cut face on top: the tongue's flanks then lean out by no more than their angle, which prints without supports.

Holes are split without connectors.

“ยืด” at the top of the panel, beside “ผ่าเป็นสองชิ้น”, makes the selection longer at the plane instead of cutting it in two - a case downloaded without its CAD file whose compartment should be longer, say. Place the plane as for a split, through the part that may grow, and type “ยาวขึ้น (ติดลบ: สั้นลง)”: the part on the side the arrow points to moves that far away, and the cut through the body at the plane, drawn out over that length, fills the gap. Straight walls and floors get longer; compartments, rounded corners and holes on either side keep their size. A minus value makes it shorter: a slice that thick comes out on the arrow's side and the rest moves back. “ยืด” applies it; every object the plane crosses stays one closed body under its own name, a mesh like the halves of a split. Where the plane runs through a slanted or round part, its cut is drawn out straight, so place it where the body runs straight.

The halves are plain meshes: settings such as a cylinder's sides or a text's lettering are gone, so set those first. Ctrl+Z brings the original back in one step. Locked and hidden objects cannot be split.

An imported mesh needs a closed surface to be split, grouped or cut. If it has openings, such as the eyes of a figure left open or a crack in a scan, layerling closes them with a flat cap first and says how many it closed. It closes small openings and flat ones of any size; a large opening whose rim bends is left to you, and the message says so. Close it in the program the model comes from, or with a mesh repair tool, and import it again.

Separating parts

If a shape consists of several separate pieces, such as text made of single letters, “แยกชิ้นส่วน” splits it into independent shapes. The entry is also in the menu you get with a right click on the shape.

6. Breaking edges and hollowing bodies

Chamfer and fillet on chosen edges, walls of equal thickness for boxes, cups and cases.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Chamfering and filleting edges

Sharp edges rarely look good on a printed part, and they are not particularly strong either. A chamfer cuts the edge off at an angle, a fillet rounds it. Both act on the edges you click.

1. Select the body (or the group).
2. Click “ลบมุมโค้ง” or “ลบมุมเฉียง” in the ribbon, press B for the fillet or Shift+B for the chamfer, or right-click the body and pick it from the menu.
3. The body's edges light up. Click those that should be affected. Another click takes an edge out again. With Shift you add or remove a single edge.
4. Set the size and confirm with “ใช้” or Enter. Afterwards the window stays open on the new body with the same size, so the next fillet or chamfer can follow at once; “เสร็จ”, Esc or the cross closes it. With Shift or Ctrl a click on “ขอบด้านบน”, “ขอบด้านล่าง”, “ขอบแนวตั้ง” or “ขอบแนวนอน” adds those edges to the ones picked instead of replacing them.

The tool window sits at the top right. If it covers edges you want to click, drag it away by its title bar; it opens there next time too, and so do “ทำกลวง” and “เรียงซ้ำ”. Double-click the title bar to put it back.

Picking a shape from the shape list while the tool window is open closes it without applying anything, and the edges you clicked are forgotten. The click then places the new shape instead of picking edges.

In the tool window you find:

• “ขอบคมทั้งหมด” selects every edge at once, “ล้าง” empties the selection.
• “รัศมี” for the fillet. For the chamfer you set “ระยะ” or “มุม”.
• “รัศมีแปรผัน” (fillet only) lets the radius change along one edge: small at one end, larger at the other, evenly in between, as where a straight wall meets a slanted one. Click a single edge, then set “รัศมีที่ต้นขอบ” and “รัศมีที่ปลายขอบ”. Which end counts as the start follows from how the edge was built; if the larger radius comes out at the wrong end, “สลับต้นปลาย” turns it round. It works on one edge at a time, so round several edges one after the other. “แก้ไข” brings both values back.
• “โค้งเว้า (ขุดเข้า)” (fillet only) turns the fillet round: instead of rounding the edge off, it cuts a quarter-round scoop out of it, like the notched corners of a box. The scoop is a cylinder of the chosen “รัศมี” lying along the edge, so it works for any angle between the faces, but on straight edges only, and not together with “รัศมีแปรผัน”. “แก้ไข” brings it back.
• “เกณฑ์ขอบคม” decides which edges count as sharp at all. A value of 25° treats only clear kinks as edges and leaves flat transitions alone.
• “ขอบแนวตั้ง” picks the edges that stand straight up, such as the corners of a box: one fillet then rounds all the vertical corners at once.
• “ขอบด้านบน” picks only the edges along the very top of the body. It is the quick way for a cookie cutter: build the outline in a sketch as a stroke, then chamfer the top edges. “มุม” sets how steep the chamfer is; it cannot reach further than the wall is thick.
• “ขอบด้านล่าง” picks only the edges along the very bottom of the body, the mirror of “ขอบด้านบน”. It is the quick way to round or chamfer only the foot of a part.
• “ลบมุมเฉียงผสมโค้ง”, chosen at the top of the chamfer window next to “ลบมุมเฉียง”, makes the printable foot of a part: a chamfer at the plate that blends tangentially into a fillet toward the wall, so the first layers need no support and the edge still ends soft. “ระยะ” is the height the foot takes up, “มุม” (15° to 75°) the steepness of the chamfer at the plate. Pick the edges with “ขอบด้านล่าง”.
• “เฉพาะขอบที่มองเห็น” hides the edges that lie behind the body from where you look. By default every edge shows through the body, which gets confusing on a busy part; with the switch on you see, and can click, only the edges facing you. Turn the view to reach the others. An edge drawn in red (see below) always shows.
• “คลิกครั้งเดียวเลือกขอบที่ต่อเนื่องกันอย่างนุ่มนวลด้วย”: a click then also picks edges that flow smoothly into each other, for example all edges around a face with rounded corners. The switch only decides what a click picks: the CAD kernel always carries a chamfer or fillet on along such smoothly continuing edges. The tool window tells you along how many more edges that happens.
• “คงขนาดขอบไว้เมื่อปรับขนาด” keeps the chamfer or fillet as large as it is, even if you scale the body later.
• “หาขนาดใหญ่ที่สุดที่ใช้ได้” appears under the message when a size is too large for the picked edges. It tries smaller sizes until one goes through, narrows in on the largest that fits, to a hundredth of a millimetre, and puts it into the field; the preview follows as usual. On a large body that takes a few seconds. If not even a very small size fits, it says so: then it is not the size that stands in the way, but the edges picked together.
• “คุณภาพตัวอย่าง” (“หยาบ”, “มาตรฐาน” or “ละเอียด”) decides how finely the preview is calculated. For difficult parts “หยาบ” is faster.
• The window keeps its settings in this browser, one set each for chamfer, fillet and chamfer-fillet: size, angle, threshold, preview quality and the switches stay as you left them after “ใช้”, after an undo and the next time you open the tool. A size the body cannot take gives way to the one worked out from the body. Only “คลิกครั้งเดียวเลือกขอบที่ต่อเนื่องกันอย่างนุ่มนวลด้วย” starts anew: on for a body's first chamfer or fillet, off after that.

While you adjust the size, layerling recalculates the preview. It can take a moment. You may keep adjusting; the last value you chose is what gets calculated.

If the size is too large for the edge, layerling says so and suggests a smaller value. Often one or two millimetres less will do. At sharp angles a fillet needs more room than its radius suggests. On a small screen the tool window scrolls down by itself so the message is in view.

When a selection that worked fails after you click one more edge, that edge turns red and is drawn wider: it is the one that cannot be treated together with the others at this size. Click it again to take it out, or make the size smaller. If you click more edges while the message stands, the first one stays red. When there is no earlier selection that worked - the very first click, or a size you just raised - the edges that fail even on their own turn red, or all of them if it is only their combination.

A fillet along a curved edge has one more limit. Where the edge bends round the outside of the body tighter than the radius, as at the tip of a drop drawn in a sketch or brought in as an SVG, the rounding cannot follow the bend. layerling then says how tight the tightest bend is and draws the edges that have it in red. Choose a radius smaller than that, or draw the bend rounder. A sharp corner is no such bend: two edges meet there, and each is rounded on its own. So round the top edges before you round a corner with a small radius: the rounded corner would be a tight bend for the top.

Before it gives up, layerling tries once more with the short edges at the ends of the picked ones, up to twice the size long. One sits where an earlier chamfer ends on a wall that is still sharp: a short slanted edge in the corner, and the corner cannot be treated while it stays sharp. If that helps, those edges are picked as well, and a message says how many were taken along. And where the picked edges meet in a sharp inner corner, as two discs of a cloud do, a fillet has no room at any size: layerling then rounds those corners first, at the same size or a smaller one, and the message says how many and how much (a chamfer chamfers them).

The edge under the pointer is drawn wider too, so you can see which one a click will pick.

A hole takes “ลบมุมเฉียง” and “ลบมุมโค้ง” as well, and so do “ทำกลวง”, “ขยาย/หดผิว” and “ลบหน้า”: it stays a hole and cuts with its new shape. Rounding the four upright edges of a box hole cuts a pocket with round inside corners, and a hole grown with “ขยาย/หดผิว” cuts with that much more room. To break the edge where a hole meets the part, treat the finished group instead: that edge belongs to it.

Taking an edge treatment back

A treated body can always be treated again. Select it again and open the tool - Fillet, Chamfer or Hollow, each shows the list: under “ย้อนการแต่งขอบ” you see what is already on it. “ย้อนกลับ” takes back a single treatment. Note: if newer treatments lie on top, they go with it, and the tool window tells you how many.

Next to a chamfer, a fillet or a hollowing there is also “แก้ไข”. It takes the treatment back the same way, but opens the tool again at once with the same edges and the old value. You change the value and apply it again: a 3 mm fillet becomes a 5 mm one without clicking the edges once more. If newer treatments lie on top, they go with it here too. This holds for edge treatments you make from now on; older ones only offer taking back, and so do single parts of a group.

On a group, say a cylinder with a hole, the treated edge belongs to the finished body, not to one of its parts. So the group becomes a single body. “แยกกลุ่ม” still works on it: it takes the edge features back first and then dissolves the group, in one step that Ctrl+Z undoes. Take the treatment back as described above and the group returns with all its parts. The easiest way is to treat edges last. That goes for threads too: the edge tool takes a thread as its exact body, so a block with a tapped hole in it gets its edges rounded with the thread in place. Working out a thread's edges takes longer than for a plain shape, a few seconds for an M6 and about half a minute for a G1/2 pipe thread.

A part imported as STEP keeps its CAD geometry too: chamfers, fillets and hollowing work on the body from the file, however finely the part is drawn on screen. STL, OBJ and 3MF bring only triangles, and a finely drawn part can be too dense for the edge tool. If a part is also available as STEP, import that. “แปลงเป็นแบบแม่นยำ” turns such a part into an exact body with real planes and cylinders first, see Files, saving and sharing, "Making an imported mesh exact".

Hollowing bodies

Boxes, cups, cases and covers have one thing in common: they are empty inside, with walls of equal thickness. That is exactly what “ทำกลวง” does.

1. Select the body and click “ทำกลวง”, or right-click the body and pick it from the menu.
2. Set the “ความหนาผนัง”.
3. Under “ด้านที่เปิด”, switch on the sides that stay open: “บน”, “ล่าง”, “หน้า”, “หลัง”, “ซ้าย” or “ขวา”, as many as you like - “หน้า” alone makes a slot for a drawer, “ซ้าย” and “ขวา” a tunnel. With no side switched on the body stays closed all round, with a cavity in the middle. “ปิด (กลวงข้างใน)” switches every side off in one click. “บน” is already on when the tool window opens; a click on it closes the top again. A body closed all round looks unchanged from outside: the section view shows the cavity.
4. Decide whether the “ขอบด้านใน” should be “โค้งมน” or “คม”.
5. Click “ทำกลวง”.

The walls grow inward. The outside stays as it is.

The “ขอบด้านใน” only matter where the inner walls move apart - at a step in the body or around an opening. The corners of the cavity of a plain box are always sharp, with both settings. For a rounded inside, round the outside edges of the body first (see above), then hollow it: the inside follows with the radius minus the wall thickness. If the rounded inside cannot be built, which can happen with an outline made of very many short straight pieces such as a traced drawing, layerling builds the same hollow body with sharp inner corners instead.

For every open side, the body needs a flat face at its very edge on that side. A top cut off at an angle counts too: a box with a slope, or a box grouped with a tilted hole that takes off its top, is left open along its sloping top, as long as that leans no more than 60° from level. Spheres and free-form shapes cannot be hollowed this way. If the wall is too thick for the body, layerling tells you and asks for a thinner one. A rounded box whose top and bottom edges are rounded as well is such a case: its wall has to be clearly thinner than that rounding, or set the rounding to 0 first.

A body with a pocket - a block with a hole that does not go all the way through, made by grouping a box with a raised hole - can be hollowed too, with the top open: the walls round the pocket are hollowed as well, so a ring of cavity stays between the outer wall and the pocket, open at the top, and a thin cavity lies under the pocket's floor.

Bodies that end in a point, such as a cone or a revolved triangle, have no flat face on top that could stay open. A fully closed cavity does not work there either, because a point cannot be offset inwards: even with a 1 mm wall you get the message that the walls cannot be this thick. Draw the wall into the profile before revolving instead: duplicate the outline, scale the copy down evenly, put it in the middle of the large outline and cut the large one with it, then revolve the whole (chapter Sketches, section Revolve). The distance between the two outlines is the wall thickness.

If you resize a hollowed body later, layerling hollows it again at the new size right away. The wall stays as thick as you chose, round bodies included. A cylinder you pull further one way than the other becomes an ellipse. Fillets and chamfers you laid on it after the hollowing go on again at the same edges.

A lid for an open body

“ฝา” makes the lid for a body that is open at the top: a box you hollowed with its top open, a pot, a tray. Select the body and click “ฝา”. In the window you choose the kind:

• “แบบกดลง”: a plate as large as the body with a lip below it that goes into the opening.
• “แบบครอบ”: a plate a wall wider than the body with a rim below it that goes over the outside.
• “แบบล็อกสองด้าน”: a plate a wall wider than the body with both: a lip into the opening and a rim over the outside. The body's wall sits in a groove between them, like on a food container.
• “แบบแผ่นเรียบ”: only the plate, to lay on top or glue on.
• “แบบหมุนครอบ”: a cap that screws on like a jar's lid, for a round body; more about it below.
• “แบบหมุนเข้าใน”: a plate with a threaded plug that screws into the opening of a round body; more about it below.
• “แบบบิดล็อก”: a twist lock for a round body, a cap pushed down over lugs and turned; more about it below.
• “แบบสไลด์”: a plate that slides into a box through one wall, like a wooden pencil box's lid; more about it below.

Then you set the “ความหนาฝา”, the “ความแน่น” (the “ช่องว่างต่อด้าน” between lid and body: 0.1 mm tight, 0.2 mm normal, 0.3 mm loose, or any value up to 1 mm) and how deep the lip or rim reaches down and how thick its wall is. Click “สร้างฝา”: the lid lies beside the body, turned over with its plate down, so it prints without support. The body stays as it is. The lid follows any outline, round or angular, because it is taken from the body itself just below its rim. A body without an opening at the top only gets a flat lid; for the others, hollow it with the top open first. The rim must be level: for a body whose top slopes, hollow it “ปิด (กลวงข้างใน)” and cut it with “ผ่าชิ้น” along a tilted plane where the lid should come off; the part above is the lid, with its walls already on it. For a body that is an exact CAD body, such as a rounded box hollowed with Hollow, the lid is one too, with round corners that stay round: round or chamfer its edges with the edge tool like any other. Other bodies, and lids with posts for the magnets, get a lid made of triangles.

Tick “แม่เหล็กที่มุม” and the lid holds by four round magnets instead of a tight fit. Pick a “แม่เหล็ก” (6 × 2, 8 × 3 or 10 × 3 mm) or set its “เส้นผ่านศูนย์กลางแม่เหล็ก” and “ความสูงแม่เหล็ก”, and the “ระยะเผื่อรอบแม่เหล็ก”: 0.1 mm to press the magnets in, 0.2 to 0.3 mm to glue them. Layerling cuts a pocket into each corner of the body's rim and one facing it into the lid's plate, a little deeper than the magnet, so it never stands proud. Where the wall is too thin for a pocket, a post fills the corner from the bottom up to the rim, and the lid's lip goes round it. The body is grouped with its pockets and posts: ungroup it and you have it back as it was. The plate must be at least the magnet's height plus 0.8 mm thick; switching the magnets on makes it so.

Tick “บานพับ” and the lid swings open about a pin along a straight side of the body: the back, or the side you pick under “ด้านบานพับ” (as in the starting view, where the back faces away from you). Knuckles take turns along it, the outer ones on the body and those between on the lid, “ระยะเผื่อบานพับ” apart, and a hole for the pin goes through them all: with a “เส้นผ่านศูนย์กลางแกนพิน” of 1.75 mm a piece of filament is the pin; tick “พิมพ์แกนพินด้วย” for a thicker one printed apart. The pin sits tight in the body's part of the hinge, so a piece of filament pressed in stays put, and turns in the lid's: “ระยะหลวมแกนพิน (ต่อด้าน)” is its room there on each side, 0.2 mm to begin with; give it more if the lid turns stiffly. In the body's part a printed pin has 0.15 mm on each side, as it comes out at its full width: it still sits firmly, but it can be pressed in. The body's knuckles stand on a 45° slope, so the body prints upright without support; the lid's are flush with its top, so it still prints turned over. “ข้อบานพับ (0 = อัตโนมัติ)” at 0 gives about one knuckle per 10 mm. A hinge goes with a lid that pushes in or a flat one; a rim round the outside would hit the back wall as it opens. On a round side, a pot or a tube, the hinge runs where the wall stays within a knuckle's radius of the hinge's line, and the body's knuckles stand on a small block that reaches in to the wall. “รูพินทรงหยดน้ำ (ไม่ย้วยตอนพิมพ์)” (on to start with) gives the pin's holes a point on top as each part is printed, so they do not droop; a printed pin lies on a small flat. Under “แบบบานพับ”, “ฝังเรียบ” puts the knuckles into the wall instead of behind it: the box keeps its size, each part is notched round the other's knuckles, and the lid opens to about 140°. “แกนหมุน” makes a lid that lies in the opening on a small ledge and turns on two pins through the side walls, to about 95°; the box keeps its size there too. Both need a straight side and go without magnets.

For a “ฝังเรียบ” hinge, tick “จุกปิดปลาย” to close the pin's hole at both ends, so the pin stays hidden and cannot slide out. The last 4 mm of the hole at each end are then square, standing on a corner so that they too have a point on top and print without drooping, and just large enough for the pin to pass: push the pin in first, then press a plug into each end. The square plugs cannot turn and sit as tight as the pin does in the body; each is cut flush with the outside of the box, rounded corners included (on such a box the hinge runs on into the corners, with plugs or without). They come out beside the lid, lying on a flat side. The pin is shorter by them, and the status bar says how long.

Tick “ปุ่มล็อกคลิก” and the lid clicks shut: small round bumps on the outside of its lip (on a lid that goes over the top, on the inside of its rim) snap into dimples that Layerling cuts into the body's wall at the same places, one in the middle of each straight side of 12 mm or more, two on a side over 80 mm, four round a round opening, and none on the hinge's side. “ความสูงปุ่ม” is how far each bump reaches into the wall, 0.4 mm to begin with: less for a small box or a stiff lip, more for a firmer click. Under “ที่จับ”, “แถบดึง” gives the plate a tab 6 mm out from its front edge (or the edge opposite the hinge), as thick as the plate, so the lid still prints turned over, and “ร่องนิ้ว” cuts a recess for a finger into the body's front wall just below the lid's edge, always leaving 0.8 mm of the wall; neither goes with a pivot lid, nor do the bumps with a flat one.

Pick “แบบหมุนครอบ” and the lid screws on like a jar's: the body gets a thread on the outside of its top, and the cap the same thread inside its rim. This needs a round body, such as a cylinder, a tube or a round pot hollowed with its top open, with a wall at least 0.8 mm thick; a box or an oval is refused. A rim that is rounded or chamfered, as on a vessel revolved from a line with round ends, can stay as it is, for this lid and for “แบบบิดล็อก” below: the thread or the lugs go on the straight wall under the rounding, and the cap reaches over it. The thread is added to the outside of the wall rather than cut into it, so even a thin wall keeps its strength, and it is grouped with the body: ungroup it and you have the body back as it was. “ระยะเกลียว” is how far the thread climbs in one turn, 3 mm to begin with, as on a jar; the thread is three tenths of that deep (at most 1.5 mm), its flanks at 45°, so the body prints upright and the cap on its plate, both without support. “จำนวนรอบ” is how many times it goes round, and with the pitch how far the cap's rim reaches down. The “ช่องว่างต่อด้าน” is the thread's room on each side, measured across the radius as for a nut; if the cap turns stiffly, take a looser fit. Turn the cap clockwise to close it. Cap and thread are made of triangles, and magnets, a hinge, click bumps and a handle do not go with a screw lid.

Under “เกลียว” you can pick, instead of “กำหนดเอง”, the thread of a standard bottle or jar: PCO 1881 is the 28 mm neck of most water and soft-drink bottles, PCO 1810 the older one with a taller thread, GL 45 the thread of laboratory bottles (DIN 168), Mason 70 and Mason 86 the regular and the wide mouth of mason jars. The cap is then made to the standard, so it fits such a bottle or jar from the shop; the standard sets the pitch and how far the cap reaches down, and the “ช่องว่างต่อด้าน” is the room all round its thread. The body gets the neck's thread only if its top is that neck: round, and as wide as the neck under its thread, which the window tells you (24.94 mm for PCO 1881); a cap from the shop then fits the body too. Any other body stays as it is and only the cap is made, as the status bar says. To make a cap for a bottle you have, select a cylinder about as wide as its neck, click “ฝา”, and pick “แบบหมุนครอบ” and the bottle's thread. A standard's flanks are steeper than the 45° of the custom thread, so the thread's underside on the body and the ridges inside the cap hang over more as they print; they are only about a millimetre deep, but print one cap first to see how your printer manages them. The thread of mason jars has no published drawing, and its sizes are measured ones: try the cap on your jar.

Before you click “สร้างฝา”, the window measures your body's top and says whether it is the neck: how wide it is, how wide the neck must be under the thread, and whether the body gets the thread or only the cap is made. If it is not the neck and the body is a cylinder, a tube or a hollowed cylinder standing upright, “ปรับชิ้นงานให้พอดีคอขวด” makes it as wide as the neck, in the middle of what counts (65.85 mm for Mason 70), and keeps its height; a hollowed body keeps its walls as thick as they were. “สร้างฝา” then gives it the neck's thread, and one undo takes the fitting back. For any other body, such as a group or an imported mesh, the window says how wide to make its top.

Pick “แบบหมุนเข้าใน” and the thread goes the other way round, for a pen holder, say, whose outside should stay smooth: the body gets the thread inside its opening, like a nut, and the lid is a plate as large as the body with a plug below it that has the same thread and screws in until the plate rests on the rim. The body and its opening must both be round, with the same middle, such as a cylinder, a tube or a round pot hollowed with its top open, with a wall at least 0.8 mm thick; a box, an oval or a square opening is refused, and so is an opening too narrow or not deep enough for the plug. Here too the thread is added to the wall rather than cut into it: the wall keeps its strength, the outside stays as it was, and the opening is only the thread's depth narrower near the top. “ระยะเกลียว”, “จำนวนรอบ” and the “ช่องว่างต่อด้าน” work as for a screw lid; pitch and turns also set how far the plug reaches down. The plug is hollow, a ring with a “ความหนาผนังจุก” of 1.6 mm to begin with (0.8 mm at least), and stays solid where the opening leaves no room for a hole. The body prints upright and the lid on its plate with the plug standing up, both without support. Turn the lid clockwise to close it. As with a screw lid, lid and thread are made of triangles, and magnets, a hinge, click bumps and a handle do not go with it.

Pick “แบบบิดล็อก” for a twist lock, as a light bulb sits in its socket, to join the sections of a lamp or close a round box: the body gets lugs standing out of the outside of its top (“ปุ่มล็อก”: three to begin with, two to four), and the cap an L-shaped slot inside its rim for each. Set the cap on with its slots over the lugs, push it down and turn it clockwise until it clicks, 40° with three lugs (45° with two, 30° with four): a ledge in the cap then lies under each lug and holds it down, and a stop ends the turn. “องศาที่บิด (0 = อัตโนมัติ)” lets you set the turn yourself, up to a quarter turn of 90°, for example for a cap with two lugs that goes on with a 90° twist; at 0 it is the turn the lugs give. Each lug's slot, its turn and a stop before the next slot must fit round the body: with more lugs or on a small body, a turn that does not fit is held to what fits, and the status bar says so. Two lugs reach 90° on all but the smallest bodies; four turn about 65° at most on a body 40 to 80 mm across. Like a screw lid it needs a round body with a wall at least 0.8 mm thick, and the lugs are grouped with the body. They are sized from its diameter, standing a fortieth of it out of the wall (1.2 to 2.5 mm); their undersides and the ledge slope at 45°, so the body prints upright and the cap on its plate, both without support. “ความลึกขอบครอบ” is how far the cap reaches down, 8 mm to begin with; below the lugs it guides the cap along the wall. The “ช่องว่างต่อด้าน” is the room round the lugs and along the wall, and starts from your printer's play once you have measured it; “ช่องว่างแนวสูง” is the room above the ledge, how far the locked cap can lift, 0.3 mm to begin with. “ความสูงสันกันหมุน” is how far a small rib behind each locked lug reaches into its way: the lug clicks past it, so the cap does not turn back by itself. Take less if the cap turns too hard, 0 for none. To open it, turn the cap back and lift it off. Cap and lugs are made of triangles, and magnets, a hinge, click bumps and a handle do not go with a bayonet lid.

Tick “สายคล้องฝา” with a screw or bayonet lid and the cap stays with the body when it is open, as on a drinks bottle. The tether is one part, lying flat beside the cap: two open rings joined by a strap. The larger ring snaps onto the cap from below and sits under a collar round its top, held there by a bead. The smaller one goes round the body just below the cap, on a bead the body gets there, and the thread or the lugs above keep it on: open it a little and push it on over them, or from below over the bead. Both rings turn freely, so the cap still turns on and off, and the strap is long enough for the open cap to hang beside the neck. Print the tether in PETG or TPU; in PLA it takes only a few bends. The beads slope at 45°, so cap and body still print without support, and the rings keep the “ช่องว่างต่อด้าน” round what they turn on. The tether needs a few millimetres of the body below the cap, round and as wide as at the top, and a cap rim about 4 mm deep; where that is missing, the tool says so.

Screw lids and bayonet lids can be flip-tops, as on a bottle of shampoo or ketchup: tick “ฝาพับ” and the cap's plate gets a round opening in its middle (“ช่องเปิด”: its diameter, 8 mm to begin with) with a flap in it that closes it, flush with the top. The cap stays on, and you open only the flap. A cap prints on its plate, so a flap folded over from beside it would lie upside down, its plug against the bed; that is why the flap is printed in the opening itself, the “ช่องว่างต่อด้าน” all round it, and is its own plug. Its edge narrows at 45° just below the top, so it rests on the plate and cannot be pushed in, and at the front a catch reaches under the edge of the opening, so it clicks shut. At its straight back a strip 0.4 mm thick and 3 mm long, lying flat on the bed, joins it to the plate and bends as its hinge, so the flap never comes off; under the strip, flap and plate lean towards each other in a V. Nothing slopes more than 45°, and the cap prints in one piece without support. To open the flap, put a fingernail in the groove across it and lift; to close it, press it down until it clicks. Print a flip-top in PETG or PP: in PLA the strip breaks after a few bends. The plate must be at least 1.8 mm thick (with a gap of 0.2 mm), and the opening and its hinge have to fit inside the body's opening; an opening too large is refused with the largest that fits.

Screw caps and bayonet caps can have their top rim rounded or chamfered: under “ขอบด้านบน” pick “โค้งมน” or “ลบมุมเฉียง” and set “ขนาดขอบ”, 1 mm to begin with, at most as much as the plate is thick. The edge is made with the cap, because afterwards cap and thread are one mesh with far too many triangles for the edge tool. The cap prints turned over, so this edge lies on the bed: a chamfer prints cleanly, and a rounding of 1 or 2 mm does too.

Pick “แบบสไลด์” for a lid that slides in like a wooden pencil box's: a plate in the opening, its top flush with the rim, whose edges run in grooves in three walls. The fourth wall, the one picked under “สไลด์เข้าจากด้าน” (the front to begin with, as in the starting view), is cut down to the lid's underside where the lid passes, so it slides in over that wall, and the lid's end fills the cut, flush with the wall's outside. A box set down turned on the workplane takes one too: the wall picked is then the one facing most nearly that way. This needs a box with upright, straight walls, rounded corners included; a round body is refused. The grooves go as deep as the “ความหนาฝา” allows, a little under 1 mm for a 2 mm lid and up to 1.5 mm for a thicker one, always leaving 0.8 mm of the wall behind them; their tops slope at 45°, so the box prints upright and the lid on its top, both without support. If the walls or the lid are too thin for the grooves, the window says how thick they must be. The “ช่องว่างต่อด้าน” is the lid's play in the grooves on each side; if it slides stiffly, take a looser fit. Walls inside the box are cut down under the lid too. Tick “ปุ่มล็อกคลิก” and a small bump under the lid's end clicks past the cut wall, so the lid does not slide out by itself; “ความสูงปุ่ม” is how far it reaches below the wall's top. Under “ที่จับ”, “ร่องนิ้ว” gives the lid four grooves across its top near that end, for your thumb, and “แถบดึง” a pull tab there. The grooves and the cut are grouped with the box as a hole: ungroup it and you have the box back as it was. Magnets and a hinge do not go with a slide-in lid.

To sink the lid below the rim, set “กรอบเหนือฝา” (0 to begin with). The lid and its grooves then sit that much lower, and the walls keep their full height above them, a frame round the lid. The wall it slides in through is then not cut down either: it keeps its full height, with a slot through it where the lid passes, and the lid's end fills the slot, flush with the outside. Above the lid the slot leaves the same play as at its sides (“ช่องว่างต่อด้าน”), and with “ปุ่มล็อกคลิก” the bump's height more, so the lid can bow up over its bump on the way out; at least 1 mm of the wall must stay above it, and a lower frame is refused with the frame needed (1.2 mm with a gap of 0.2 mm). The box still prints upright: the slot's top is the one place printed over air, a short, level bridge across the lid's width, which most printers bridge without support. The thumb grooves then sit just behind that wall, and a pull tab stands out of the slot.

A cable channel through a body

“ช่องร้อยสาย” runs a round tunnel through a body for a cable or an LED lead, from where it goes in to where it comes out, and finds the way itself. Select the body and click “ช่องร้อยสาย”, then click on the body where the cable goes in (“ทางเข้า”) and where it comes out (“ทางออก”). The way starts and ends straight along the surface, runs straight where it can and bends where it must, never tighter than “โค้งแคบสุด”, and keeps as far from the outside as it can, never closer than “ผนังบางสุด”. A cable pushes through a bend of about five times its diameter; “เส้นผ่านศูนย์กลาง” is the channel's own.

While the panel is open the body is seen through, with the channel inside it and a mark on each end. The panel says how long the channel is, its tightest bend and its thinnest wall, and in red when a bend or the wall had to be smaller than asked; a smaller value for “โค้งแคบสุด” or another entry or exit helps then. “กำหนดใหม่” moves an end. “สร้างช่อง” cuts the channel in: it becomes a “ท่อโค้ง” as a hole, grouped with the body, so the body stays exact, and after ungrouping the tube can still be changed. A bent tube has at most eleven bends; a way that needs more asks for another entry or exit.

Offsetting bodies

Every face of a body can be moved by the same distance, out or in. That is what a press fit, a lid or a snap joint needs: a gap of 0.1 to 0.3 mm all round while the features stay where they are, which scaling cannot give you.

1. Select one body and click “ขยาย/หดผิว”, or right-click the body and choose it there.
2. Choose “ขยาย” or “หด” and set the “ระยะ”.
3. The “มุมด้านนอก” decide the outer corners: rounded keeps the offset surface round there, sharp lets the faces run on until they meet.
4. Tick “เก็บชิ้นเดิมไว้ แล้วเพิ่มชิ้นที่ขยาย/หดเป็นชิ้นเจาะรู” to keep the part as it is and get the grown body as a copy that already is a hole. Group that hole with the mating part and it cuts exactly the clearance you chose.
5. Click “ขยาย/หด”.

Tick “เฉพาะด้านข้าง: หน้าบนและล่างที่เรียบคงความสูงเดิม” when only the outline should grow or shrink: the sides move by the distance, while every flat top and bottom stays at its height. A sign gets a border all round, a base gets wider, and the body does not get taller. On a stepped body each step keeps its own height. A text that is offset through its outlines keeps its height then too.

Without the tick the body itself is offset. It becomes a fixed exact body, like after a chamfer: the list at the top of the tool window takes the offset back, and “แก้ไข” opens the tool again with the old distance. Only bodies that are exact CAD bodies can be offset - boxes, cylinders and the other shapes, groups of them, imported STEP parts. A body that is only a triangle mesh, such as many STL imports, often cannot be. A distance that is too big for the body, for example a shrink beyond its thinnest wall, is refused.

A text whose letters the kernel cannot offset as a body - in some fonts an A, B, M, N, W or 9 - is offset through its outlines instead: it gets the fill “กว้างขึ้น (ฐานสำหรับงานพิมพ์หลายสี)” by the distance (narrower when it shrinks) and grows by as much at the top and the bottom. It stays a text you can go on editing. This works for a text with filled letters and no rounding; one that already has a fill mode is refused as before.

Deleting faces

A fillet in the way, a hole in the wrong place, a boss you no longer need: “ลบหน้า” takes it off the body again, without building the body anew.

1. Select the body and click “ลบหน้า”, or right-click the body and pick it from the menu.
2. Click every face of what should go: the faces of a rounded edge, the wall of a hole, the side and the top of a boss. A picked face lights up; another click takes it out again. The tool window counts the faces.
3. Click “ลบ” or press Delete. Esc closes the tool without changing anything.

The faces around the deleted ones grow until the gap is closed. A box with rounded top edges gets its sharp edges back, a hole is filled, a boss is gone. The body stays exact, so it can be filleted and chamfered again and the STEP export keeps its true faces. Ctrl+Z takes the deletion back in one step. It is also listed under “ย้อนการแต่งขอบ” with the fillets and chamfers, where “ย้อนกลับ” takes it back; there is no “แก้ไข” for it. On a group, the result is a single body, as with an edge treatment.

Pick all the faces of what should go, and only those. If the faces around them cannot close the gap, layerling says so and nothing changes: a main side of a box, for example, has no neighbour that could take its place. Deleting only the floor of a pocket turns it into a hole straight through, because the walls of the pocket run on to the other side.

“ลบหน้า” needs exact faces: it works on parts imported as STEP and on layerling's shapes. Whatever layerling keeps as a mesh has none: an imported STL, OBJ or 3MF, a split, wrapped or simplified body, or a very detailed shape such as a long text. Import a part as STEP if you can. On a detailed imported part, a few faces can be too much for the CAD kernel: after 45 seconds the deletion is stopped and nothing changes. A body resized after an edge treatment while keeping its edge size has no exact faces at its new size until the resize is taken back.

An imported mesh made exact with “แปลงเป็นแบบแม่นยำ” can keep hair-thin faces where the file's triangles were bad, between faces that lie in one plane, so that one side comes out as strips that cannot be deleted on their own. Such a thin face, too narrow to click, goes with a picked face when it touches it and leads on to another face in the picked face's plane, together with the thin faces joined to it that touch a face in that plane too; the tool window counts them as taken along.

7. Sketches: from outline to body

Draw a flat outline, round or chamfer its corners and pull or spin it into a body.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Not everything can be put together from basic shapes. For parts with a contour of their own, such as a bracket, a tooth profile or a vase, you first draw the outline and then make a body from it. That is what sketch mode is for.

Starting a sketch

At the top, switch from “แก้ไข 3D” to “สเก็ตช์”. In the “สร้าง” group of the ribbon, three buttons stand side by side for what the outline should become:

• “ดึงสเก็ตช์เป็นชิ้น”: The outline is pulled upward, like a cookie cutter.
• “หมุนสเก็ตช์รอบแกน”: The outline is spun about an axis, as on a lathe. That gives vases, cups, cones and everything round.
• “สเก็ตช์แบบกวาดตามเส้นทาง”: The outline is pulled along a path: a cable channel that turns a corner, a conduit, a ring round a shape. See Sweeping along a path below.

The editor then shows a sheet with a grid. That is your drawing surface.

The sketch lies on the workplane. To draw on a face of a body, for an outline that should start higher up, say, first put the workplane on that face with W (see View and workplane), then start the sketch.

Drawing

The ribbon in sketch mode is divided into areas. Below, each tool has a card of its own: what you do, one step to a line, and after an arrow what happens then. The key on the right of a card picks the tool.

Drawing tools

เส้นตรง1

• Click points one after another.
• Hold Shift to snap the new line in 15° steps, horizontal and vertical included.
• The length and angle of the new line show at the pointer.
• To type how long it should be, see Lines by numbers.
• Every point you click lands on the snap grid set under “กริดจับ”. With Shift held the 15° step comes first: the length still goes in grid steps, but the end can lie between the grid lines.

ส่วนโค้ง

• Click the two ends of the arc.
• Click a third point the arc runs through.
• Until that third click a preview follows the pointer, and the message names the radius.
• An end clicked on an existing point joins it, so an arc can close an outline.
• Esc drops the points clicked so far and goes back to “เลือก”.
• Once drawn, the arc is ordinary geometry made of points and curves: move, cut or erase it like any other line.

เส้นโค้งเบซิเยร์2

• Click a point and drag in the direction the line should carry on, as with the pen tool in Illustrator or Inkscape.
• The further you drag, the more it bends.
• The stretch to the new point bends along while you drag, so you see what you get.
• Coming from Tinkercad and just want to click points? Take the “เส้นโค้งเรียบ”.
• The first stretch only bends at its start if you drag at the first point too. Just clicked, the line leaves that point straight; to bend it later, select the point with “เลือก” and drag its handle.

เส้นโค้งเรียบ3

• Click points one after another.
• It lays a flowing path through the points you click.
• At the two ends of an open line the curve heads straight for the next point, so the first and the last stretch bend less than the others. To bend one more, select its end point with “เลือก” and drag its handle. In a closed outline every point bends alike.

วาดอิสระ5

• Draw with the pen, a finger or the mouse, as on paper.
• When you lift it, the line becomes ordinary points: a corner where it turned sharply, smooth points in between, only as many as the shape needs, so each can be dragged afterwards.
• Zoom in for fine detail: the closer you look, the more closely the line follows your hand.
• A line that ends where it began closes into an outline that can become a body; an open one stays a line, for “เส้น” or as a path to sweep along.
• Start on lines or on a template picture to trace a picture by hand.
• Begin or end a stroke at an open end to carry that line on, so a shape can be drawn in several strokes.
• The stroke does not keep to the snap grid, so that it follows your hand. A point you drag afterwards does snap to it, unless “กริดจับ” is switched off.

Shapes

Select and change

เลือก

• Click a point or a line and drag it to move it.
• Click inside a closed outline to select the whole outline; inside a hole it picks the hole.
• You can drag or resize it straight away.
• Hold Shift and click to add a point or line to the selection or take it away again, so you can move several together.
• Drag a box over empty space to select everything in it.
• Drag a line to move it by its two ends, or all of the selection if it is part of one.
• The arrow keys move the selection by one grid step, Shift with them by a larger one.
• Hold Shift while you drag to keep the move on one axis.

เพิ่มหรือลบจุด4

• Click a section to add a point.
• Click a point to remove it.
• layerling joins its two neighbours, so the outline stays closed.

ยางลบ

• Click a point or a line to take it away.
• Drag a window over several to take away everything inside it.
• With something selected, the button erases the selection.
• To get rid of only a piece of a circle, for a rounded corner say, click exactly that piece of arc between two points.
• The rest stays.

เพิ่มรูปภาพ

• Put a template picture under the sketch to trace it, see A picture as template.

Clipboard and history

Notes

View and dimensions

Lines by numbers

Once you have set the first point with “เส้นตรง” or “เส้นโค้งเรียบ”, just type a number: two fields open next to the line, “ความยาว” in millimetres and “มุม” in degrees. < or Tab moves to the angle, so "50<30" gives a line 50 mm long at 30°, as in AutoCAD. Enter sets the point, and you can type the next line straight away; Esc closes the fields without ending the line chain.

The angle counts counterclockwise from the right: 0° to the right, 90° up, 180° to the left, 270° down. Leave it empty and the line follows the pointer, so you give only the length and show the direction with the mouse. Sums like "40+12.5" work in both fields. If the point would land off the plate, the field says so and waits for another value.

Curving a straight side

Select a straight line and click “ดัดเส้นให้โค้ง” in the bar that appears: the side bows out into a curve, as in Tinkercad, and shows its two handles. Drag them to shape the curve; the further out a handle stands, the stronger the bend. Under the pointer a handle turns orange, and it also catches a click just beside it, so a template image underneath does not move by mistake. “เส้นตรง” makes the side straight again. A point you select can be made round with “เส้นโค้งเรียบ”: it gets handles of its own and the lines next to it become curves. With three or more points selected, “เส้นโค้งผ่านจุด” in the bar lays one flowing curve from the first of them to the last, through every point in between, the way the “เส้นโค้งเรียบ” tool draws one; the lines beyond the two ends stay as they are. Other programs call this "Fit curve" or "Fit point spline". The two differ: “ดัดเส้นให้โค้ง” bends each selected side on its own and keeps the corners between them, for an arch on one side; “เส้นโค้งผ่านจุด” runs one curve through the points with no corners left, for smoothing a jagged traced edge. Click a handle and it lights up: the arrow keys then move it by one grid step, with Shift by a larger step, so you can set a curve precisely.

Values can be typed too. A selected point shows “X” and “Y” in the bar: where it lies, in mm from the sketch's origin, with Y counting up. Click a handle and the bar shows “ปุ่มจับ X” and “ปุ่มจับ Y” instead: where the handle lies from its own point. On a smooth point the opposite handle turns along. Give the matching handle on the other side the same Y and the X with the opposite sign, and the curve comes out exactly mirrored; “สะท้อน” mirrors a whole half at once.

Reading and typing angles

Click a corner point where two straight lines meet: next to the lengths, layerling shows the angle between them in degrees, with a small arc. On a closed outline it is the angle inside the shape, so a dent reads above 180°. Click the value and type a new angle. One of the two lines then turns about the corner and keeps its length, and the other stays where it is. The line that turns is drawn dashed; Tab switches to the other one, Enter applies and Esc cancels. What hangs at the far end of the turned line goes with it.

A locked point stays where it is, and a typed value works round it: a length moves the free end of the line, and an angle turns the line whose far end is free. A single point can be locked as well: select it and press Ctrl+L. That way you can make an outline exact one corner after the other: lock a corner, type the length and the angle of the next line, lock its end, and go on.

Moving a point changes three angles: at the point itself and at the two neighbouring corners at the far ends of its lines. So layerling shows those two as well, and each can be clicked and typed. That way you set, say, the bottom left corner to 75.5° while the top left point, which moves for it, is selected. You can calculate here too, e.g. "90-14.5".

A corner shows no angle where a curve meets it, or where more than two lines meet. The “แสดงขนาด” button on the sketch toolbar hides the angle together with the lengths.

Rounding or chamfering corners

Click a corner point and choose “ลบมุมโค้งที่มุม” or “ลบมุมเฉียงที่มุม”. A small field appears for the “รัศมี” or the “ระยะ”. Enter the size and confirm with the check mark. This works for corners between two straight lines.

Several corners at once work too: select them with Shift and a click each, or pull a frame round them, and choose “ลบมุมโค้งที่มุม” or “ลบมุมเฉียงที่มุม” from the bar that appears. All of them get the same radius or distance. Where two selected corners share a side, each takes at most 45 % of it, so a rectangle rounded all round comes out alike at every corner. Points that are not a corner between two straight lines are left out, and the message says how many. A frame round a whole shape, or a click inside it, selects its corners and its lines together, and the bar then offers “ดัดเส้นให้โค้ง” and “เส้นตรง” for all the selected lines next to the corner tools.

Mirroring

Select points and lines (click, Shift and click, or pull a frame round them) and click “สะท้อน” in the bar. Then choose the axis: “ซ้าย-ขวา” mirrors across the vertical axis through the middle of the plate, “บน-ล่าง” across the horizontal one, and “ข้ามเส้น” across a straight line of the sketch that you click next. The copy is added on the other side and the original stays; nothing is linked, so you can change either on its own. Points that lie on the axis are shared, so a half outline whose ends sit on the axis becomes one closed outline: draw half of a bracket, select it, mirror it and make the body. A construction line makes a good axis. Esc cancels.

Construction lines

A construction line helps you place points without becoming part of the body. It is drawn dashed and never counts as outline: you can pull it as far beyond the shape as you like and the body does not grow.

• Switch on “เส้นช่วยสร้าง” in the “วาด” group. New lines, those typed by measure too, are then construction lines. The button switches back to normal lines.
• A line you have drawn already becomes a construction line when you click it and choose “เส้นช่วยสร้าง”. “เปลี่ยนเป็นเส้นปกติ” makes it a normal line again.
• New points snap to where a construction line crosses another line, a blue ring shows it, and to the ends of the construction line. That is how you put a corner on a middle, at a fixed distance from an edge or on a crossing, without calculating.
• New points also snap to the middle of every straight line of the sketch, to the centre of every circle and rounded corner, and to the middles of the sides of a body shown underneath (#624). A point that is being dragged ignores the middle of its own lines.
• A selection you drag snaps with its middle (#1236): the centre of a circle or the middle of a rectangle lands on the ends, corners and middles of the other lines, on the centres of circles, where construction lines cross and on the corners of a body underneath; a blue ring shows where. A shape dragged in from “เพิ่มรูปทรงสเก็ตช์” lands with its middle on these points too. Hold Alt to keep to the grid only.
• “เส้นจากจุดกึ่งกลาง” in the “วาด” group draws a line from its middle: click the middle first, then the end, and the line runs the same length to the other side. The middle becomes a point of its own. Click the button again to draw normal lines.
• A construction line does not cut the outline apart where it crosses it. When revolving it may lie to the right of the axis too.

Making a body from it

Click “เสร็จสิ้นสเก็ตช์”. The outline stands as a body on the workplane. In its settings you change the height, the colour and everything else as with any other shape. When you resize it, layerling builds it again from the sketch a moment later, and the sketch grows with it. So it stays an exact body that takes chamfers and fillets, and the next time you edit it the sketch has the size the body has.

If the workplane lies on the side of a body, you draw the way you look at that side: up in the sketch is up on the finished body too. The faint outline of the body in the sketch view shows where it stands. If the workplane cuts through a body, the sketch view shows the outline of that cut instead, so a hollow body appears as a ring and you can line the sketch up with its walls. A point you set or drag close to a corner of these outlines snaps exactly onto it; a small blue ring shows it. That way you take edges of other bodies into the sketch, even when the workplane does not lie exactly on them. To trace round existing work, switch on “แสดงชิ้นส่วนที่มองทะลุ: ขอบทั้งหมดบนระนาบสเก็ตช์” (the layers button in the view buttons on the left): all the edges of the bodies are then drawn on the sketch plane, thin and faint, as if you looked through them, whatever height they lie at. A plane that stands upright, set on a front face for example, shows the front view this way. The choice is kept in the browser.

With “แก้ไขสเก็ตช์” you can return to the sketch at any time to change it. A double click on the body does the same, as in Tinkercad (a locked body stays closed); “ดับเบิลคลิกเพื่อเปิดสเก็ตช์” in the settings switches that off. Edge treatments you already made on the body are lost, though, because the edges are created anew. A body you turned or moved in the 3D editor opens where it stands on the plate, turned as you see it there and on the plate's grid; only a tilted or mirrored body opens in its own frame.

A sketch with several outlines makes one body, and outlines that overlap merge in it. To have every outline on its own, select the body and click “แยกชิ้นส่วน”: each outer outline becomes a body of its own, with the holes that lie in it, and keeps the body's height, colour and place. Each part has its own sketch to edit, with the construction lines, so you can raise or lower the parts one by one and join or cut them afterwards. Edge treatments block this, as does a body stretched since: it is then taken apart as a mesh.

Another kind of body from the same sketch: the badge at the top of the sketch says what it becomes, “สเก็ตช์แบบดึงเป็นชิ้น”, “สเก็ตช์หมุนรอบแกน” or “สเก็ตช์แบบกวาดตามเส้นทาง”. Click it and pick another, also while you edit an existing body: an imported SVG, which comes in extruded, becomes a vase or a knob when you switch it to “สเก็ตช์หมุนรอบแกน”. An outline reaching across the axis moves left until its right edge lies on the axis, so the half cross-section of an SVG turns about its straight side; Ctrl+Z takes the move back. When you finish, the new body takes the old one's place, name and colour, its foot at the same height. Edge treatments go, as with every edit of a sketch.

Revolving

When revolving, you draw half the cross-section to the left of the axis shown in the sketch. Next to it you see a 3D preview of the revolve. It shows at once what the body will look like. You can turn, shift and zoom it with the mouse; the small button in its top right corner, or a double click on it, brings back the first view. The outline must be closed, or you build an open line as a stroke, see below. At the end click “เสร็จสิ้นการหมุนรอบแกน”. The other bodies of the design are shown from the front, in the same view as the profile, with the axis standing at the middle: draw the profile next to them or above them. The body stands where you drew it, and the horizontal line through the middle of the sketch is the ground: a profile drawn above it gives a body that stands higher, and its lowest point is the foot of the body. For a bigger radius, move the profile further from the axis, past the edge of the plate if need be: the plate grows with the sketch, its grid follows when you let go, and the minus button zooms out until all of it fits.

A revolved body is an exact body, like an extruded one: it takes chamfers and fillets, and you can hollow it, for a cup or a vase. A body revolved with an older layerling is a mesh; open “แก้ไขสเก็ตช์” and finish it again to make it exact. A profile that reaches across the axis cannot be built exactly and becomes a mesh, as before.

Smoother round faces: “ความเรียบ”. An exact revolved body is cut into small flat facets for the view, the export and the print, and on a large pot they can show on the print. Select the body and set “ความเรียบ” in the properties panel to “ละเอียด” or “ละเอียดมาก”: the round faces are cut finer, at the cost of more triangles and a slower design. A helix or a mesh revolve has “จำนวนด้าน” for this instead.

One continuous strand: “ระยะพิตช์”. A revolve turns its outline into closed rings. Select the revolved body and give it a “ระยะพิตช์” above 0 in the properties panel, the distance it climbs per turn, and the outline winds up as a helix instead: one continuous strand, like filament on a spool or a coil. “มุมกวาด” then becomes “จำนวนรอบ”, up to 200; a negative number winds left-handed. Turns closer than the outline is high melt into one body, so a solid core with a fine pitch works too. A helix is built as a mesh, so fillet, chamfer and hollow do not work on it; keep “จำนวนด้าน” low on many turns. A pitch of 0 makes rings again.

Sweeping along a path

“สเก็ตช์แบบกวาดตามเส้นทาง” pulls an outline along a path: a cable channel that turns a corner, a conduit, a guard round a belt, a ring around a hexagon. It sits next to “ดึงสเก็ตช์เป็นชิ้น” and “หมุนสเก็ตช์รอบแกน” in the “สร้าง” group.

You draw two things on the same sheet:

• The cross-section as a closed outline, as usual. Draw it as you would see it looking along the path from its start: across the path is the sketch's left and right, up is up on the finished body. A hollow section, a channel or a tube, is an outline with another one inside it. By default the section is centred on the path. The menu next to the mode badge at the top lets you put its left or right edge on the path instead (“บนเส้นทาง: ขอบซ้าย”, “บนเส้นทาง: ขอบขวา”, seen looking along the path), so a rail can sit on one side of the line or follow the edge of a part. The body stands on the sketch plane with the lowest point of the section.

• The path as a “เส้นช่วยสร้าง”: switch it on and draw lines or curves, one chain, open or closed (a closed chain gives a ring). The path lies flat in the sketch plane.

Draw the section near the end of the path where it should start; the path starts at the end nearest to it. Then click “เสร็จสิ้นการกวาด”. A corner of straight pieces becomes a mitre, a curve stays smooth, and the section stays upright all the way. The body is exact, like an extruded one: fillet, chamfer and the STEP export work on it. If a closed outline or a path is missing, or there are several separate paths, layerling says so. With “แก้ไขสเก็ตช์” you can return to the sketch and change the section or the path.

Building as a stroke

Normally the area inside a closed outline becomes the body. With “เส้น” in the “เสร็จสิ้น” section you build the line itself instead, with a width you set. Tick “สร้างเป็นเส้น” in the stroke window; the sketch shows straight away what comes out.

• A closed outline becomes a frame. “ตำแหน่ง” says where the wall lies: “กึ่งกลาง” on the drawn line, “ด้านใน” within it or “ด้านนอก” outside it. Outside is handy for a tolerance: draw the outline of a hole, a dovetail for instance, and give it a 0.2 mm stroke outside to get the gap the print needs.
• An open line becomes a stripe, centred on the line. “ปลายเส้น” sets how its ends look: “ตัดตรง”, “เหลี่ยม” (longer by half the width) or “มน”.
• “มุม” applies to both: “แหลม”, “มน” or “ตัดเฉียง”.

The sketch keeps the drawn line. Open it again and you go on changing line and stroke; untick the box and the area is built again. Curves are broken into short straight pieces for it.

In a revolve the stroke is a thin wall: draw the wall of a vase or a cup as one open line to the left of the axis, tick “เส้น” and set the width, and the revolve turns that band. What reaches across the axis is cut off at it.

Fill and silhouette

You can set the stroke without opening the sketch too: in the properties of a sketch body, choose “เต็มพื้นที่”, “เส้นด้านนอก”, “เส้นด้านใน” or “เส้นตรงกลาง” under “การเติม”, with “ความกว้างเส้น” and “มุม”. The body is built again straight away, where it stands. These match the fill modes of Tinkercad's SVG import: default, outer line and inner line. “กว้างขึ้น” keeps the area filled and grows it by the line width all round, with sharp, round or bevelled corners: a base layer under a logo for a multicolour print, which the stroke outside alone would only give as a ring. “แคบลง” does the opposite: the area stays filled and its edge moves in by the line width all round, holes included (they grow). Use both on copies of one sketch for a fit: the hole at its drawn size, the part that goes through it “แคบลง” by 0.5 mm, or a wall inside a shape cut from the same outline. A width larger than the outline allows leaves nothing. In the sketch's stroke window the same two choices stand under “ตำแหน่ง”. With a line outside, inside or centred, “คมตัด” makes the wall sharp on top: its top runs in to that width with a 45° chamfer on both sides, as on a cookie cutter. 0 leaves the top flat; the edge stays when you change the line width.

“เงาโครงร่าง (ไม่มีรู)” leaves out every outline lying inside another: holes and whatever lies in them. Only the outer outline stays. Together with “เส้นด้านนอก” it makes a cookie cutter: import an SVG twice, once with the silhouette as an area for the base and once with the silhouette and 1 to 2 mm of stroke outside as the wall. The switch is in the “เส้น” window in sketch mode as well.

Fillets and chamfers on the edges go when the body is built again, as when the sketch is edited. “เรียวสอบ” and “บิดและเอียง” stay; a taper grows or shrinks with the outline.

Slanted walls, for stamps

An extruded sketch has vertical walls. A stamp, an embossing die or a punch wants slanted ones, outside and inside, with the same wall thickness all the way. Layerling has no draft angle for an extrusion, but for plain outlines the “เรียวสอบ” gets you there. One way that works:

1. Draw the outline with the hole it needs and make a body of it. Duplicate the body (Ctrl+D).
2. On the first body, switch on “เงาโครงร่าง (ไม่มีรู)”, so the hole is filled, and give it a wider bottom than top with “เรียวสอบ”.
3. On the copy, open its sketch again and delete the outer outline, so that only the outline of the hole is left. Finish the sketch, switch the body to “ชิ้นเจาะรู” and give it a narrower bottom than top with “เรียวสอบ”.
4. Move the hole into the first body, where the hole was, and group the two.

The walls now slope outside and inside. Taper scales the whole outline, so this is exact for plain shapes, where you can choose the sizes so the walls run parallel, and only an approximation for fine details such as lettering.

A picture as template

With “เพิ่มรูปภาพ” you put a photo or a drawing under the sketch and trace it, at any time, also before the first line. You can set its size, opacity and position. Once the picture sits right, lock it with Ctrl+L so you do not move it by accident while drawing. A locked image is out of the way: clicks go through it, so you can pick lines and points on top of it and drag a frame over them. The padlock in its corner unlocks it with one click; Alt+click selects it without unlocking it. If its settings at the right edge cover the picture, drag them away by their title bar; a double-click on it docks them again.

Under “จัดแนว” you line up a photo that was not taken straight:

• “การหมุน”: Turn the picture about its centre, with the curved arrows beyond its corners or as a number in degrees. With Shift the arrows snap in 15° steps. Inside the ring that appears while turning they snap to 22.5°, outside it to whole degrees.
• “ไปที่ X = 0” and “ไปที่ Y = 0”: put the picture's centre on X = 0 or Y = 0. For a revolve, X = 0 is the axis, so the picture then lies symmetric about it.
• “ปรับสเกล”: Its button sits at the top, right under the preview. Click two points in the picture whose distance you know, the ends of a ruler or a known diameter, and type the real distance. The picture is scaled evenly so that distance is right; the first point stays where it was.
• “ครอป”: The handles on the frame now crop the picture instead of scaling it; what is cut away stays stored and comes back with “แสดงรูปทั้งหมด” or when a handle is pulled out again.

All four touch the reference only, never the sketch.

“ลอกลาย”, in the picture's settings, sets the points for you: it traces the outline of the shape in the picture – a silhouette, a logo, a word – and shows it in red over the picture, square points for corners, round ones for smooth points. “รูปทรงสีเข้ม” or “รูปทรงสีอ่อน” picks which part of the picture is the shape, “ค่าแยกสี” where dark turns light, “จุด” how many points the outlines get together (fewer give smoother curves, more follow the picture more closely), “เป็นมุมเมื่อเกิน” from what turn a point is a corner, “ตัดจุดเล็กๆ ทิ้งถ้าไม่เกิน” how small a speck is left out, and “เก็บรูไว้” keeps the middle of an A or an O. “ใช้” puts the outlines into the sketch exactly where the picture lies, at its size, turn and crop, and selects them: they are ordinary points to move, curve or remove, and Ctrl+Z takes them back in one step. It works best with clear contrast; cut a photo with a busy background out first. What falls away – around the outlines, in the holes, what is cut away – the preview covers in the plate's colour, so only what stays shows of the picture. Outlines that lie so close that loose curves would cross get more points by themselves; the card says so. For a border outside or inside the outline, give the sketch body a stroke outside or inside its lines, or offset the finished body.

For a photo – a toy on a white table, say – choose “วัตถุ” under “รูปทรง”: the background is the colour at the picture's edge, and everything that stands out from it becomes one outline, whatever its colours; “ค่าแยกสี” then sets how clearly it must stand out. A colourful picture on an even background starts this way. “เลือกพื้นที่” outlines more: click an area in the picture, a window say, and the patch of like colour round the spot is outlined (“ช่วงสีที่ยอมรับ” sets how like). Holes and clicked areas are listed under “รูและพื้นที่”; pointing at one shows it in the preview, ✕ takes it out, and with “เจาะออก” off it is drawn as a construction line instead of a hole. An area that reaches the picture's edge is the background and is not taken. What no threshold and no colour can tell apart – a shadow as dark as the wheels above it – “ตัดทิ้ง” takes away: click corners round it (a click on the first corner, a double click or Enter closes it), and the outline runs along the cut; it is listed as “Cut 1”.

The tree beside a house, a figure before a busy background – where no colour tells the shape from the rest, the “บ่วงแม่เหล็ก” catches it: click roughly along its edge, and between two clicks the line follows the edge by itself, round its bends too; while you move, the preview already shows where it will run. A click on the first point, a double click or Enter closes it, Esc throws it away. It is listed as “Lasso 1”, with the choice “เอาเข้า” (the area joins the shape) or “ตัดทิ้ง” (it is taken away); every cut has the same choice. Under “รูปทรง”, “ใช้บ่วงอย่างเดียว” makes the shape only of what you catch this way – nothing else of the picture.

Keys in sketch mode

8. Text and curved lettering

Raised or engraved lettering in eight typefaces or one of your own, and if you like along a circular arc, such as on a coin, a lid or a ring.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Adding text

Choose “ข้อความ” in the shape library and place it. In the “ข้อความ” field on the right, type what it should say. The settings below:

• “ฟอนต์”: Eight typefaces are available: Multilanguage, Sans, Serif, Script, Monospace, Rounded, Stencil (letters made of straight lines) and Japanese (Zen Maru Gothic). New text starts in Sans. Accented letters such as ä, ö, ü, é and the € sign are in every typeface, and so are kana, the common kanji and many of the rare ones in names such as 澤, 槇 and 檜: a Japanese name works in every typeface and on a name tag. The Japanese letters are fetched the first time a text needs them (the rare kanji in a second file, only when a text has one), so such a text shows question marks for a moment. They are kept on the computer afterwards, so Japanese also works offline from then on. Fonts of your own come on top, see Your own fonts below.
• “ขนาดตัวอักษร”: How big the letters are, seen from above; “ความสูง” sets how thick they are.
• “ความสูง”: How far the lettering stands out from the surface.
• “ลบขอบ”: Rounds the letter edges so they look softer. With “จำนวนช่วง” you decide in how many steps.
• “ขอบตัวอักษร”: rounds or chamfers the top edge of the letters, as on a name tag: “ไม่มี”, “มน” or “ลบมุมเฉียง”, with the “ขนาดขอบ” (0.4 mm to start with, at most as high as the text). It goes further than the “ลบขอบ”, but only as far as the strokes are wide: where a stroke is thinner than twice the size, the edge ends in a narrower top. The underside stays flat, so single letters can be glued on afterwards. While an edge is chosen it takes the place of “ลบขอบ”.
• Length: A text takes up to 250 characters. The letters keep their size and the line gets as long as it needs to be; to make it shorter, make the letters smaller. The “ขอบตัวอักษร” works on a text of up to 40 characters, because on a longer one it would take minutes to build.
• Size: You set the length and width of the line as with any shape. Drag the handles or type the dimensions.
• “ระยะห่างตัวอักษร (%)”: The space between the letters on top of the one the font has, in per cent of the letter size: 0 leaves it as the font made it, above it the letters stand further apart, below it (down to -50) tighter, which a font of your own often needs. The letters keep their size and the box follows the line, on straight and on curved text. The spacing is not applied to Arabic and Hebrew, whose letters join up.
• “ยืดตัวอักษรให้เต็มกรอบ”: Off at first: the letters keep their proportions and sit in the middle of the frame, so a frame pulled wider or deeper than the word needs stays larger than the letters. Switch it on and the letters are stretched to fill the whole frame in both directions: a capital can be made lower or narrower, as in Tinkercad. It is for straight text; curved text has its own letter size.
• “ปรับระยะคู่อักษรอัตโนมัติ”: Moves pairs of letters that leave too much room between them, such as AY, AV, LT or To, closer, measured from the shapes of the letters, in every font, your own too. New texts start with it on; texts made before it existed have it off, so nothing moves in a saved design. The letters keep their size and the box follows. It works on straight and curved text, not on vertical text, Arabic, Hebrew or Japanese.
• “ตัวอักษรเรียงบนลงล่าง”: Stacks the letters top to bottom, each in the middle of one upright line, for a sign on a door frame or a name down a pen. The box turns upright and the letters keep their size; “ระยะห่างตัวอักษร (%)” sets the gap between them. On curved text the letters form a column along the left side of the circle, each one standing upright; “ด้านขวา” puts the column on the right side.

Text is at first a single body. If you want to treat the letters individually, click “แยกชิ้นส่วน”. Then every letter is a shape of its own.

Several lines: A text holds one line. For a sign or a plaque with several lines, open the “กล่องข้อความ” card below the settings: type the lines under “บรรทัด”, choose “จัดแนว” (“ซ้าย”, “กึ่งกลาง” or “ขวา”), “ระยะห่างบรรทัด” and “บรรทัดถัดไป (%)” - at 80 % each line is a fifth smaller than the one above. The button makes every line a text of its own under the one above, in this text's font, height and fill; the first takes this text's place. Afterwards each line can get its own size, font or colour.

The edges of text can be chamfered or filleted too, straight or curved, see Breaking edges and hollowing bodies. Use small sizes such as 0.2 to 0.5 mm, because the strokes of the letters are narrow.

Your own fonts

The list under “ฟอนต์” draws every font in its own letters, with the words of your text, so you see how they will look before you choose. The same goes for the fonts in the window below; the fonts listed from your computer show their names in their own letters. Arrow keys and Enter work in the list, and a letter jumps to the next font that starts with it.

Besides the eight built-in fonts you can use any font of your own: a font file from your computer or, in Chrome and Edge, a font installed on your computer. Choose “ฟอนต์ของคุณเอง …” at the bottom of “ฟอนต์”. The “ฟอนต์ของคุณเอง” window opens.

• “เลือกไฟล์ฟอนต์ …” takes a TrueType file (.ttf), an OpenType file (.otf) or a WOFF file (.woff). You can also simply drag the file into the window.
• On Windows the installed fonts live in the Fonts folder (C:\Windows\Fonts). The browser's file dialog hides it. Open it in Explorer instead and drag the font into the “ฟอนต์ของคุณเอง” window. Fonts installed for you alone live in %LOCALAPPDATA%\Microsoft\Windows\Fonts, which the file dialog shows too. On a Mac fonts live in /Library/Fonts and ~/Library/Fonts.
• “ฟอนต์จากคอมพิวเตอร์ …” lists the fonts installed on your computer. The first time, the browser asks whether layerling may read them. The search field finds a font quickly, a click takes it.

If a text is selected, it gets the new font at once. Otherwise the font shows up under “ฟอนต์” in the “ฟอนต์ของคุณเอง” group, and “ใช้” in the window puts it on the selected texts. Fonts of your own work like the built-in ones: text on a circular arc, chamfers and fillets on the edges and the STEP export all work the same. Letters a font lacks are taken from Sans.

Arabic and Hebrew

Arabic, Persian, Urdu and Hebrew are written right to left: the first letter stands on the right, and in a mixed text such as "Name عربي" only the Arabic word runs backwards, digits stay as usual. Arabic letters join their neighbours the way the script asks, and lam-alef becomes a ligature. This needs a font that has these letters; the built-in ones do not. Add one of your own, such as Arial, Tahoma or Segoe UI on Windows, or a free one such as Noto Naskh Arabic, Noto Sans Arabic or Amiri. Vowel marks sit on the letter they belong to. Text on a circular arc, outline, silhouette, layers and name tags work with it as with any other text.

What works in which browser

Web pages may not simply read the installed fonts. Only Chrome and Edge have a permission for it, and only on secure pages, over https as on layerling.com. When layerling runs over http, say on your own server or as a Docker install in your home network, “ฟอนต์จากคอมพิวเตอร์ …” is missing; drag the font over from Explorer then. In the other browsers you choose the font file from the fonts folder, with the same result. If you declined the question in Chrome or Edge, allow it again in the site settings, behind the padlock to the left of the address.

layerling cannot read WOFF2 files (there is almost always a TTF or OTF version), font collections (.ttc, several fonts in one file) or colour emoji fonts. From very large fonts, such as Chinese ones, layerling takes the first 8000 characters. A variable font is read in its default setting, usually the regular weight.

Some fonts, script and variable fonts above all, draw a letter from strokes that overlap. layerling merges them into one clean outline when it reads the font, so the body stays printable. Such letters are then made of very short straight pieces instead of curves; it does not show.

Where the fonts are kept

A font of your own stays in this browser on this computer. Another browser or another computer does not know it until you add it there too. Clearing the browser's site data clears the fonts as well. In the “ฟอนต์ของคุณเอง” window the bin removes a font from the browser. Your designs lose nothing by it, as the next section shows.

Passing on designs with a font of your own

A design does not store the font file, only the outlines of the letters its texts use, those in earlier steps of the history included. If a text says "Hello", only H, e, l and o travel with it. That holds for every way a design is saved: in the browser, on your own server, as a .lyl file and in “รูปทรงของฉัน”.

So:

• The design opens correctly anywhere, also on a computer without the font. The texts look the same and can be moved, turned, scaled and filleted.
• New letters need the font. If someone without the font types a letter the design did not bring along, layerling draws it from Sans. Under “ฟอนต์” the font is then marked “เฉพาะตัวอักษรในงานออกแบบ”. Adding the font file brings back every letter.
• Exports hold geometry only. STL, 3MF, OBJ, STEP and SVG contain bodies and outlines, no font.
• Older layerling versions do not know fonts of one's own yet and draw such texts in Multilanguage.

Licences: Fonts are protected by copyright, and their licence says what you may do with them. The embedded letter outlines are what PDF files take along from a font, and most licences allow that. Some commercial fonts, though, forbid passing on even single letters. Before you pass on or publish a design with a font of your own, check the font's licence. Free fonts such as those from Google Fonts (mostly under the SIL Open Font License) can be passed on without worry. For a printed part or an exported STL it does not matter: they hold no font any more, only geometry.

Raised or engraved

• Raised: Place the text on the surface and group it with the body. It grows out as a relief.
• Engraved: Switch the text to “ชิ้นเจาะรู”, let it reach a little into the surface and group it with the body. The letters are then engraved.

For lettering on a side face, first put the workplane on that face, see View and workplane.

Stencils: bridges for the middle of letters

Cut through a plate, letters like O, A and B lose their middle: it lies loose inside the letter and falls out. “สะพานสเตนซิล” holds it to the plate with small bridges, as on a stencil.

1. Switch the text to “ชิ้นเจาะรู”, let it reach through the plate and select both, grouped or not.
2. Click “สะพานสเตนซิล” in the “ผ่าชิ้นและปรับรูปทรง” group of the ribbon, right-click the selection, or find it with Ctrl+K. The bridges show in orange where they will go.
3. Set “ความกว้างสะพาน” and “จำนวนสะพานต่อชิ้น”. “ความสูงสะพาน” starts at the plate's thickness; lower bridges sit flush with the bottom, in the middle or flush with the top of the plate, as “ตำแหน่ง” says. On a spray stencil, bridges at the top leave room under them for the paint.
4. “สร้าง” groups the bridges with the plate.

Each bridge is an ordinary box: open the group to move one, delete one or add one of your own. If you change the text later, select the group and click “สะพานสเตนซิล” again; new bridges take the place of the old ones. A text that is engraved and does not go through gets no bridges, as nothing falls out there. For a laser or a plotter, the DXF and SVG export add the same bridges, see Files, saving and sharing.

Outline, silhouette and wider

A text need not be built as filled letters. “การเติม” in the properties offers the same choice as Tinkercad:

• “เติมเต็ม”: the letters as they are.
• “เส้นขอบ”: a line along the outline of the letters, half inside and half outside it.
• “เส้นด้านนอก”: a line round the outside of the letters.
• “เส้นด้านใน”: a line on the inside of the letters.

With a line chosen, two settings appear right under the list: “ความกว้างเส้น” sets how thick the line is, “มุม” how it goes round the corners (“มน”, “ตัดเฉียง” or “แหลม”). The rarer settings are under “เพิ่มเติม”: “เงาโครงร่าง (ไม่มีรู)” leaves out the holes in O, A or e, and “กว้างขึ้น (ฐานสำหรับงานพิมพ์หลายสี)” keeps the letters filled and makes them thicker by the line width all round; letters that touch grow into one piece.

With a line outside, a centred line or "Wider" the box of the text grows, while the letters keep their size. “ลบขอบ” and “จำนวนช่วง” exist for filled letters only.

Layers and name tags

A name tag for a multicolour print is a text in layers: the letters on top, under them the same text a little wider in a second colour, at the bottom a plate without holes in a third. layerling makes it in one click:

• A new name tag: choose “ป้ายชื่อ” in the shape library and place it. It says "Name" in white letters on a red rim and a dark plate.
• From a text: select the text and click “สร้างเลเยอร์” at the top of its settings.

All settings of the tag are in the card “ป้ายชื่อ”, at the top of the settings:

• “ข้อความ” and “ฟอนต์”, fonts of your own too. The tag grows with the words.
• “ขนาดตัวอักษร”: how tall the capital letters are, in mm. All layers follow and stay lined up.
• “ตัวอักษรเรียงบนลงล่าง”: stands the tag upright with the letters under one another, all layers along.
• “เลเยอร์”: one row per layer, from the top down. Each row has the colour (click the coloured square), how much wider the layer is than the letters, its height and “ไม่มีรู”, which fills the holes in letters such as O and A. “มุม” sets how a wider layer goes round the corners of the letters: “มน”, “ตัดเฉียง” or “แหลม”. The top row is the letters themselves. + adds a layer at the bottom, – takes the bottom layer away. A tag has two to six layers.
• “รูห่วงพวงกุญแจ”: gives the bottom layer a straight tab with a round end and a hole for a key ring; the tab grows with the hole. A 3 mm hole, the default, makes a tab 6.5 mm wide that sticks out 6.75 mm, the hole's edge 2 mm from the edge of the bottom layer. Choose the “เส้นผ่านศูนย์กลางรู” and the “ด้าน”: “ซ้าย”, “ขวา” or “บน”. “อิสระ” takes the hole off the tag and puts a “หูห่วงพวงกุญแจ” of its own beside it, in the bottom layer's colour and height: an ordinary shape you move and turn with its handles wherever the tag needs it. Once it is in place, “ยึดเข้ากับป้าย” in its properties makes it part of the nearest tag, just where it is: the hole goes through every layer it reaches, the ear joins the bottom layer, and both keep to that corner of the letters when the words or the size change. “อิสระ” brings the tab out again where it was, to move it once more. The hole goes through every layer it touches, and the tab moves along when you change the words, the letter size or the font. “ตำแหน่งตามแนวด้าน” moves the tab up or down along its side (along the top: left or right), up to where it would leave the side; 0 is the middle. Use it when the middle of the side meets a gap, as beside a J, and move the tab to the part of the letter that reaches out.
• “ขอบตัวอักษร”: rounds or chamfers the top edge of the letters on the top layer, the way a printed tag is finished: “ไม่มี”, “มน” or “ลบมุมเฉียง”, with the “ขนาดขอบ” (0.4 mm to start with, at most as high as the layer). It works for every font and word. The edge is part of the letters' mesh, so the edge tool takes such a text as a mesh, which for a text this fine is heavy; pick the edge here instead.

Every change shows at once. The tag is a bundle: it moves as one, and each layer stays a body of its own in its own colour, the way a slicer needs them for a multicolour print. To round or bevel the edges of one layer, click “แก้ไขชุด” and pick the layer, see Breaking edges and hollowing bodies.

Many name tags at once

Type the names into “รายชื่อ”, one per line, up to a hundred. The button below says how many tags it will make, for example "Make 12 name tags". Every tag gets the same layers, letter size and key ring hole and is an object of its own; they are laid out in rows below the first, 5 mm apart. A plain text has the name list too, further down in its settings.

Icon tags

An icon tag is the same tag with an SVG icon instead of letters: a heart, a cloud, a club's logo. The icon on top, under it the same outline a little wider in a second colour, at the bottom a plate without holes.

• A new icon tag: choose “ป้ายไอคอน” in the shape library. A small window opens: click “เลือกไฟล์…”, pick an SVG, PNG or JPG file, check the picture, type the “ความกว้าง (mm)” of the icon and click “ตกลง”. The tag stands in the middle of the plate, in the same layers as a new name tag.
• From a sketch body: an imported SVG, or a sketch you drew, has “สร้างเลเยอร์” at the top of its settings.

The card “ป้ายไอคอน” at the top of the settings holds:

• “ไฟล์อื่น…”: puts the icon of another file (SVG, PNG or JPG) on the tag; the layers and the width stay as they are.
• “ความกว้าง”: how wide the icon on top is, in mm. All layers follow and stay lined up.
• “เลเยอร์”: the rows as on a name tag - colour, how much wider, “มุม”, height and “ไม่มีรู”, + and –, two to six layers. The top row is the icon itself.
• “รูห่วงพวงกุญแจ”: as on a name tag: a hole for a key ring through every layer, with a tab with a round end on the bottom layer, beyond the icon. “เส้นผ่านศูนย์กลางรู” and “ด้าน” choose its size and where it sits; “อิสระ” gives a tab of its own, as on a name tag. The tab is made for the outline of the icon, so on a very ragged icon check where it meets the plate. “ตำแหน่งตามแนวด้าน” moves the tab along its side, as on the name tag.
• “จำนวน”: how many tags you want, 1 to 100. “เท่าที่วางได้” works it out from the plate of the printer chosen in the settings, for small logos a full plate. The button below makes them, 5 mm apart, laid out on the middle of the plate; the first is the tag itself.

The SVG needs closed outlines; a drawing of open lines only cannot become a tag. A sketch body whose fill is a line keeps it: the area of that line is the icon.

A picture (PNG or JPG) is traced into an outline, and the preview shows the outline. Under “ลอกลายจาก” you choose whether the “ส่วนสีเข้ม” or the “ส่วนสีอ่อน” becomes the icon; at first it is the part that is not the background. Transparent pixels never belong to the icon. An SVG that holds nothing but one picture, as Inkscape saves an imported bitmap, is traced the same way. The outline follows the pixels, so a small picture gives a rough edge: pictures of a few hundred pixels or more work best. “ไฟล์อื่น…” takes the part of a picture that is not its background.

QR codes

A QR code turns a text or a web address into a pattern a phone camera reads: a link to your shop on a sign, the Wi-Fi name on a coaster, a phone number on a key tag.

Choose “คิวอาร์โค้ด” in the shape library. A window opens; the cursor is already in the text field:

• “ข้อความหรือที่อยู่เว็บ”: what the code says. Enter makes the code, Shift+Enter starts a new line. Below the field you see how much of the room is used; umlauts and other special letters take two bytes. When the text is too long, the field says so.
• “การแก้ข้อผิดพลาด”: L, M, Q or H. A higher level can still be read when part of the code is dirty or scratched (L about 7 %, M 15 %, Q 25 %, H 30 %), but needs more modules for the same text, so each module gets smaller. M is chosen at first.
• “สร้างแบบ”: “โค้ดอย่างเดียว” makes the code alone, 4 mm high. “นูนบนแผ่น” puts it 1 mm high on a white plate 3 mm thick, as a bundle of two colours, so a multicolour print prints the code dark and the plate light. “แกะสลัก” cuts the code 1 mm deep into the plate.
• “กำหนดขนาดจาก”: type the “ความกว้าง” of the whole code (40 mm at first) or the size of one module; the other number is shown below. Modules under 0.8 mm get a warning. That is a rule of thumb for a 0.4 mm nozzle, not a guarantee: printer, material, colours and the phone all play a part.
• “ขอบว่าง (4 โมดูล)”: scanners need an empty rim four modules wide round the code. On a plate the rim is part of the plate; switch it off only if the plate sits on a larger light surface. The code alone has no rim of its own: leave the room free round it.
• Heights: the height of the code, or on a plate the code height or engraving depth, and the plate thickness.

The preview shows the code as it will be built. “ตกลง” puts it in the middle of the plate.

The code is a body like any other: move it, turn it, scale it (keep width and depth the same, or the code is stretched), group it, or make it a hole and group it into a part of your own to engrave it there. Scaling it scales the whole code; each module stays square.

The card “คิวอาร์โค้ด” at the top of its settings holds the text. Change it and click “สร้างใหม่”: the code is built again where it stands and as wide as it is now. Error correction, quiet zone and build stay as they were chosen; for other choices make a new code from the library.

Scan the code with your phone before you print it, and once more after printing. Dark on light reads best; a light code on a dark plate is not read by every phone.

Text on a circular arc

Should the lettering not run straight but follow the edge of a coin, a lid or a ring? For that there is the setting “บนเส้นโค้ง”.

Once you switch it on, the text runs along the circle. All letters stand on the same baseline, as evenly as with normal text. There are five settings:

• “รัศมีเส้นโค้ง” (5 to 500 mm): The radius of the circle the letters' baseline runs on. The letters stay where they are; only their bend changes.
• “ความกว้างตัวอักษร (%)” (25 to 400 %): How wide each letter is drawn, in per cent of its own width. Below 100 the letters get narrower, above it wider; their height stays, and the arc they take grows or shrinks with them. For a tall, narrow lettering on a coin, for example. On straight text “ยืดตัวอักษรให้เต็มกรอบ” does this with the frame.
• “ขนาดตัวอักษร”: How tall the letters are. It no longer depends on the width of the shape.
• “ไปตามด้านล่าง”: Moves the text from the top of the circle to its bottom. The letters then point with their heads to the centre.
• “กลับหัว”: Turns only the letters over so you can read them from the other side. The text stays in its place on the circle.

The centre of the circle is the centre of the shape. That is why aligning works as usual: if you centre the text with a cylinder or ring, it sits exactly concentric on it. When you pull a handle, radius and letter size grow together, so the lettering is not distorted.

9. Threads, gears and other parts

Screws, nuts and tapped holes that fit together, plus gear, spring, bent tube, dovetail, teardrop hole, counterbore and countersink.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Besides the basic shapes, the library contains some parts that would be tedious to put together yourself. All of them can be changed afterwards in their settings.

Threads

Choose “เกลียว” in the shape library. Under “ชนิด” you decide what it should be:

• “แท่งเกลียว”: a cylinder with thread, for example a screw without a head.
• “สกรู”: with a head. You choose the “หัว”: “หัวจมหกเหลี่ยม”, “หัวเตเปอร์” or “หัวหกเหลี่ยม”. There are also “หัวสี่เหลี่ยม”, “หัวมีบ่า” (a hex with a disc under it), “หัวปีกผีเสื้อ” and “หัวลูกบิดดาว”: the last two are turned by hand, start five times as wide as the thread and print lying flat, without supports; their “เส้นผ่านศูนย์กลางหัว” (“ความกว้าง” on a wing head) goes from three to eight times the thread. Further down you set the head's “เส้นผ่านศูนย์กลางหัว” (on a hex head “ขนาดหัวแบบวัดข้ามด้านแบน”; a countersunk head's diameter follows its height) and the “ร่องขัน” in its face: “หกเหลี่ยมใน”, “Torx (ท็อกซ์)”, “แฉก”, “แบน”, “Robertson (สี่เหลี่ยม)” or “ไม่มี” for a screw turned by hand or with a spanner. “ขนาดร่องขัน” is the socket's width across flats, the Torx star's outer diameter or the span of the cross; “ความลึกร่องขัน” is how deep it goes, at most nine tenths of the head, and 0 leaves it out. Until you change them they follow the size; a hex head starts without a drive. The drive is part of the exact body, so it also comes out in the STEP export. With “แบน”, “ขนาดร่องขัน” is the slot's length and its width a fifth of it, so a flat screwdriver or a coin turns the screw; it starts as long as the head allows. “Robertson (สี่เหลี่ยม)” is the square drive common in Canada: “ขนาดร่องขัน” is the square across flats, and it starts at the bit for the size, #2 (2.84 mm) on M4 and M5. “ความสูงบ่า” puts a round collar between the head and the thread, for example a spacer under a star knob or a shoulder that holds the head off the part; 0 leaves it out. “เส้นผ่านศูนย์กลางบ่า” starts at twice the thread and stays inside the head, so the collar prints on it without supports; the thread keeps its length. A countersunk head has no collar. A nut has the same two fields: its collar stands on the top face, narrower than the nut, with the thread running through it, and the height counts the body only.
• “หัวน็อต”: the matching nut. The washer to go with it is a “ท่อ”: choose the screw size under “แหวนรอง”, and outer and inner diameter and thickness follow ISO 7089. Under “ทรงหัวน็อต” it can also be “สี่เหลี่ยม”, “มีบ่า” (with a disc under the hexagon), “ปีกผีเสื้อ” or a “ลูกบิดดาว” to turn by hand; the wings lie flat, so a wing nut prints without supports.
• “รูเกลียว”: a tapped hole. It is a hole. Drag it into a part, group both, and the part has an internal thread. For a hole a bolt screws into, always use the “รูเกลียว”: a “แท่งเกลียว” or “สกรู” set as a hole has the bolt's full size without play and comes out too tight. If you set one as a hole anyway, layerling points this out, and “เปลี่ยนเป็นรูเกลียว” turns it into a “รูเกลียว”.

You pick the size under “ขนาด” from a list: metric from M2 to M24, the inch sizes UNC and UNF from No. 4 to 1 inch, and the pipe threads G1/16 to G4. If you choose “กำหนดเอง”, you set “เส้นผ่านศูนย์กลาง” and “ระยะพิตช์” yourself. For an inch size or a G size the field asks for “จำนวนเกลียวต่อนิ้ว” instead of the pitch in millimetres.

The list groups the sizes by series, and a line under the field names the series of the size you picked, with examples you know from everyday life:

• M, metric coarse: the ISO metric coarse thread to ISO 261, as on standard screws and nuts.
• UNC, US inch coarse: the camera and tripod screw is 1/4"-20 UNC (ISO 1222), larger tripod heads use 3/8"-16 UNC.
• UNF, US inch fine: the same diameters as UNC with a finer pitch (ASME B1.1).
• G, pipe thread: a shower hose connects with G1/2, a washing-machine inlet hose with G3/4. A garden tap ends in G3/4, smaller taps in G1/2; that is where the tap connector of a click-on hose system screws on.
• “NPT – เกลียวท่ออเมริกัน แบบเรียว”: the American tapered pipe thread to ASME B1.20.1, from 1/16" to 4", found on fittings, valves, pressure gauges and air tools. It seals on the taper, usually with tape or sealant. The size names the pipe: the diameter is its outside diameter, which the thread has at its wide end. Choosing an NPT size switches on “เกลียวเรียว (1:16, NPT)” and sets the profile to “กำหนดเอง (คางหมู)” with 60° flanks; another size chosen afterwards makes the thread straight again.

The G sizes are the parallel Whitworth pipe threads to ISO 228-1, found on fittings for water, gas, hydraulics and pneumatics. The size names the pipe, not the thread: a G1 measures 33.249 mm across the thread. Choosing a G size sets the profile to “Whitworth (55°)”, and choosing a metric or inch size sets it back to “เกลียววี (ISO)”. A “เกลียวคางหมู” or “เกลียวมน” profile you picked yourself stays. The standard only defines the thread, so the head of a screw and a nut on a G size get the same proportions as on a diameter you set yourself. The tapered pipe threads R, Rc and Rp are not included.

The last series in the list, “PCO – ขวด”, holds PCO 1881: the 28 mm neck of most water and soda bottles, 27.4 mm across with a pitch of 2.7 mm. Its thread has wide flat crests, so choosing it sets the profile to “กำหนดเอง (คางหมู)” with a “ความลึกเกลียว” of 1.6 mm and a “มุมฟันเกลียว” of 30°; another size chosen afterwards brings its own profile back. Make the neck as a “แท่งเกลียว” and the cap as a “หัวน็อต”, or subtract a “รูเกลียว” from a cylinder. The measures follow the drawing of the standard as the OpenSCAD library BOSL2 has it; print a test piece before a whole cap. The series also holds S60x6 (IBC), the outlet thread of IBC containers (DIN 6063-1, line KS 60): 60 mm across with a pitch of 6 mm, 3 mm deep, set up the same way with a “มุมฟันเกลียว” of 30°. The standard draws its flanks unequal, one about 10° from the upright and the other 20°; the profile here has two equal flanks, so a printed pair fits with some play. Canisters and washing-up liquid bottles have no common standard, so measure the neck you have and enter its values under “กำหนดเอง”.

More settings:

• “ทิศทาง”: “เกลียวขวา” or “เกลียวซ้าย”.
• “จำนวนปากเกลียว”: Threads side by side, as on a lead screw: a T8x8 has 4 starts at 2 mm, each climbing 8 mm a turn. The pitch field then reads “ระยะพิตช์ (เกลียวถึงเกลียว)”: the distance from one thread to the next, which sets the depth of the profile, and the note under it gives the lead. A size from the list and a tapered thread have one start.
• “รูปร่างฟันเกลียว”: “เกลียววี (ISO)” is the standard profile of metric and inch threads, “Whitworth (55°)” that of the G pipe threads: 55° with rounded crests and roots. “เกลียวคางหมู” and “เกลียวมน” have flat crests and roots. That usually prints more reliably because no thin tips result.
• “เกลียวเรียว (1:16, NPT)”: The thread narrows 1 in 16 on the diameter, as a tapered pipe thread does; the “เส้นผ่านศูนย์กลาง” is then the one at the wide end. A “แท่งเกลียว” or “สกรู” narrows towards its tip at the top, a “หัวน็อต” or “รูเกลียว” widens towards its mouth at the top, so a tapered rod turned upside down screws into it. Any profile can be tapered, and the tapered thread is an exact body as well, for the edge tool and the STEP export.
• “กำหนดเอง (คางหมู)”: A trapezoid you shape yourself, with a flat crest and a flat root of the same width. “มุมฟันเกลียว” is the angle between the two flanks of a tooth: 60° is the sharp V thread, 30° the trapezoid thread, and at 90° or less no flank is flatter than 45°, so the thread prints without supports. “ความลึกเกลียว” and “เส้นผ่านศูนย์กลางแกน” are one measure said two ways: the core diameter is the diameter minus twice the depth, and changing one changes the other. A new own profile starts with the V thread's depth at 60°. The depth has limits that depend on the angle and the pitch: not shallower than a tenth of the pitch, not deeper than 40 % of the diameter, and not so deep that the two flanks take more than nine tenths of the pitch. If you change the pitch, the depth follows in proportion; if you scale the thread, so does the depth. The play and the chamfers work as with the other profiles. Through the MCP bridge the profile is custom with threadFlankAngle and threadDepth.
• “ระยะเผื่อ (XY)”: For nut and tapped hole, the room that makes sure a printed pair really turns. The coarser your printer works, the more clearance the pair needs. It is the extra room across the whole diameter, and the gap between the flanks of a V thread is only about half of it, so a printed pair needs more than you might expect: new nuts start at 0.4 mm, 0.3 is tight and 0.5 loose. Print a test pair first. Rods and screws have a clearance of their own here, which makes the bolt that much thinner in diameter. It is set to 0. Which side gets the room depends on what you pair:
• Printed screw and printed nut: leave the screw at 0 and give the nut the room (the 0.4 mm it starts with).
• Real screw in a printed nut or tapped hole: the printed side takes all of it, so the nut keeps its 0.4 mm. A tighter 0.3 mm is worth a test if the screw wobbles.
• Printed screw in a real nut: the real nut has no play, so the screw has to be thinner: 0.3 to 0.4 mm here, as much as a printed nut would have.
• “ระยะหลวมตามแกน (Z)”: For nut and tapped hole, the play along the axis, on top of the “ระยะเผื่อ (XY)”. Every tooth of the nut gets this much thinner, the diameter stays as it is. The reason: the “ระยะเผื่อ (XY)” works on the diameter only and opens the flanks of a V thread to about 0.58 of its value. Anyone who wants air between the flanks has to open the diameter wide and gets sideways slop for it. The play along the axis sets the two apart. It is set to 0, so a saved thread does not change, and it goes up to a fifth of the pitch at most, because above that nothing would be left of the nut's teeth. The field exists for nut and tapped hole only; rod and screw keep their own clearance. More below under "Threads for 3D printing".
• “ลบมุมเฉียง ปลายบน”, “ลบมุมเฉียง ปลายล่าง”, “ลบมุมเฉียงที่หัว” and “ลบมุมเฉียงที่ขอบ”: Chamfers at the ends so the thread starts cleanly and the head has no sharp edge. Each end of a rod, nut or tapped hole has its own chamfer, so the top can be long and the bottom short or none. A screw has only one at its tip, labelled “ลบมุมเฉียง”. On a nut or tapped hole the chamfer is the room the mouth opens beyond the outer diameter; the cone runs at 45 degrees on down to the thread core, so no ledge is left at the outer diameter.

Switching a thread between “แท่งเกลียว” and “รูเกลียว” keeps its length. A nut and a screw start from their standard measures.

• “คุณภาพ”: How finely the thread is calculated. Higher is more exact, but slower.

Printed threads are a topic of their own. Make the screw-and-nut pair as a test first before you print a large part, and adjust the clearance to your printer.

Threads for 3D printing

A printed thread needs air in two places, and they act differently:

• Clearance in the diameter (“ระยะเผื่อ (XY)”): makes the nut wider. The screw then has half the value as air on each side, 0.2 mm at 0.4 mm. The thread turns easily, but the screw can wobble sideways.
• Play along the axis (“ระยะหลวมตามแกน (Z)”): makes the teeth of the nut thinner. The screw can then move back and forth along the axis by that value when it is not tightened. There is no extra air to the side for it.

Together they make the gap between the flanks: about 0.58 times the clearance in the diameter plus the play along the axis. An example for a 0.3 mm gap: it used to take 0.5 mm in the diameter, that is 0.25 mm of air on each side. Now 0.2 mm in the diameter (0.1 mm on each side) and 0.2 mm along the axis do it, and the gap is 0.32 mm.

Consequences to know

• The screw has play along the axis. Without load it can move back and forth by that value. For fastenings, lids and housings that does not matter; for a lead screw that has to position exactly it does, so keep it small or at 0 there.
• The nut's teeth get thinner. With 0.3 mm at a pitch of 1.75 mm every tooth is almost a third thinner at its middle and so clearly less strong. For heavily loaded parts take a coarser thread instead.
• More to calculate. The tooth shape gets extra points, so the thread has more triangles and takes a little longer to compute.
• No true arc in the STEP export for the Whitworth profile. A “Whitworth (55°)” thread with play along the axis goes to the edge tool and the STEP export as a tooth shape made of straight pieces, not with the true circular arcs. At 0 everything stays as before.

Tips

1. A test pair first. A screw and a nut, each only 4 to 6 mm tall, take a few minutes. Print three pairs with different play side by side and take the one that turns easily and does not wobble.
2. Start with values that often fit. Clearance in the diameter 0.2 to 0.3 mm and play along the axis 0.2 mm. If the screw wobbles sideways, lower the clearance in the diameter; if it jams, raise the play along the axis. If you would rather do without the play along the axis, use 0.4 mm in the diameter as before.
3. The play along the axis should be at least one layer height. What lies below one layer the printer does not resolve. With a layer height of 0.2 mm, 0.2 mm is a good start; with 0.1 mm, less is enough.
4. Print screw and nut upright. The axis points up, so every turn lies in whole layers and the flanks come out clean. Lying down, the flanks sag.
5. Fine pitches are hard. Below about 1 mm of pitch the turns often fuse. A coarser thread, or a “เกลียวคางหมู” profile with flat crests, prints more reliably than a fine V thread.
6. Avoid thin tips. The V thread has a narrow tip that the printer hardly hits with its nozzle width. The “เกลียวคางหมู” and “เกลียวมน” profiles have flatter teeth.
7. Deburr and run it in. The first turns are often stiff because small remains of the print stand on the flanks. Turn it back and forth a few times and it runs easier. The chamfer at the start helps threading it in.
8. Another printer or filament. The play depends on the printer, the material and the nozzle. Print the test pair again when you change either.

The edge tool takes a thread as its exact body. You can chamfer or round the part that carries it with the thread already in place, or the rims of a screw head, see Breaking edges and hollowing bodies. Working out a thread's edges takes a while: a few seconds for an M6, about half a minute for a G1/2 pipe thread. The quickest way to break the edge of a screw head is still the head chamfer in the properties.

Gears

“เฟือง” comes as “เฟืองตรง”, “เฟืองเฉียง”, “เฟืองก้างปลา” and “เฟืองดอกจอก”, and as “เฟืองวงแหวน” and “เฟืองสะพาน” (further down). New gears have “อินโวลูท” under “ทรงฟัน”: teeth with involute flanks, as gear generators and engineering use them. Such teeth roll cleanly on each other. You set the number of “จำนวนฟัน” (6 to 500) and the “โมดูล (mm)”, and the size follows: the outside diameter is module × (teeth + 2), the pitch circle module × teeth. New gears start at module 2. Two gears mesh when they have the same module and the same “มุมกดฟัน” (usually 20°) and their centres stand (teeth + teeth) × module / 2 apart. Select both gears and the properties panel gives that centre distance and how far apart the centres are now. If the gears should stay where they are, it also names the module at which they would mesh there, and “ปรับโมดูลทั้งสองเฟือง” gives both gears that module in one step; each keeps its teeth, height and centre hole. With more than two gears that would undo the pair before: the module of the middle gear changes again. So use “คง {name} ไว้ ปรับอีกตัวให้เข้ากัน” instead, once for each of the two gears: that gear stays exactly as it is, and the other gets its module and is moved along the line between the two centres to the distance where they mesh. Fit a chain of gears one pair after the other, each time keeping the gear that is already in place. If a tooth then meets a tooth instead of a gap, turn one of the gears by half a tooth, which is 180° divided by its number of teeth. “ระยะคลอนฟัน” takes a little off the teeth so a printed pair does not bind. The value is for the pair, and each gear takes half of it; 0.2 mm is a good start, 0 gives the exact gear. Below the base circle the flank runs straight down to the root and is not undercut as a cutter would do it. That suits printing, but a very small pinion below about 17 teeth may rub slightly at the root.

A helical gear adds the “มุมเฮลิกซ์”. With involute teeth it is the true helix angle on the pitch circle: two helical gears mesh when they have the same module and the same angle, one positive and the other negative. The “เฟืองก้างปลา” is two helical halves turning opposite ways: the teeth run one way up to half the height and back after it, like an arrow. That has two advantages for 3D printing: the gear centres itself on its shaft, and it has no axial thrust, because the forces of the two halves cancel. A helical gear, in contrast, pushes sideways along its axis. You set the “มุมเฮลิกซ์” and the “คุณภาพเกลียว” as for the helical gear; the angle applies to each half. Two herringbone gears mesh when they have the same module and the same angle with opposite signs, one positive and the other negative. There is no groove in the middle, as on milled herringbone gears: the two halves run into each other without a step.

The bevel gear takes the involute teeth and makes them smaller towards its top. That is an approximation, not an exactly worked out bevel pair. Its own “มุมเฮลิกซ์” (0 to start with) turns the teeth while they taper, as on a spiral bevel gear, for instance to remake the tapered helical gear of an old machine. Such a gear stays a triangle mesh: the edge tool and the STEP export leave it out.

“ฟันมน” are round teeth made of arcs, like Tinkercad's Useful gear: tip and gap run into each other without a corner. Small gears print more forgivingly that way and turn more easily, and on a knob the teeth make a pleasant grip. Round teeth are set by “จำนวนฟัน”, “โมดูล (mm)” and “ระยะคลอนฟัน” too; they have no pressure angle. They stand lower than involute teeth, so the outside diameter is module × (teeth + 1.2). Round gears with the same module mesh, at the same centre distance as involute ones; with an involute gear they do not fit.

“แบบง่าย” are the straight teeth every gear had so far. There you set “ขนาดฟัน” and “ความกว้างฟัน” by hand. Older designs keep them until you change the tooth shape. All three tooth shapes have the “รูตรงกลาง”.

The “เฟืองวงแหวน” has its teeth pointing in: a ring that a smaller gear runs inside, like the outer wheel of a planetary set. You set it like an involute or round gear by “จำนวนฟัน”, “โมดูล (mm)” and “ระยะคลอนฟัน”, plus the “ขอบวงนอก”, the ring outside the teeth. Its outside diameter is module × (teeth + 2.5) plus twice the rim, with round teeth module × (teeth + 1.7). A gear of the same module runs in it when its centre stands (ring teeth − its teeth) × module / 2 from the ring's centre; select both and the properties panel gives that distance. For a planetary set, ring teeth = sun teeth + 2 × planet teeth, for example 30 = 12 + 2 × 9. A ring gear has no centre hole, it is the ring itself. Between 26 and 33 teeth its tips are up to a quarter module shorter, because a tiny edge would otherwise form at the base circle; meshing is not affected.

The “เฟืองสะพาน” is the gear of endless radius: a bar with teeth along one side, whose flanks are straight lines at the pressure angle with involute teeth. Its width (along X) is teeth × pitch, the pitch being π × module, so racks of one module line up end to end, each end falling in a gap. Its length (along Y) is the thickness of the bar and free, as long as the teeth and half a millimetre of bar fit in. The teeth point to the front, towards the viewer of the home view; turn the rack as you need it. A gear of the same module rolls on it when its centre stands its teeth × module / 2 in front of the pitch line; the pitch line lies a module behind the tooth tips, 0.6 module with round teeth. Ring gear and rack come with involute and with round teeth, not with simple ones; switching the gear type keeps the module.

The “เฟืองวงแหวน” and the “เฟืองสะพาน” take a “มุมเฮลิกซ์” as well (0 to start with, straight teeth), so they can run with a helical or herringbone gear. Give them the same angle as that gear, sign included, and not the opposite one as for two helical gears. “ฟันก้างปลา” turns their teeth back at half the height, for a herringbone gear of the same angle. The rack keeps its length: its slanted teeth are cut off square at both ends. On the ring gear, “คุณภาพเกลียว” sets how finely the turn is drawn, as on the helical gear. The edge tool and the STEP export take both as exact bodies, the ring gear with the same limits as the helical gear below.

The edge tool and the STEP export take every gear as its exact body, involute flanks as smooth curves. A helical gear on an oval footprint stays a triangle mesh, and so does a helical gear with involute teeth from about 31 teeth. The herringbone gear stays a triangle mesh in the same two cases. From about 31 teeth that applies only to the edge tool: the STEP export writes such a gear exactly at any number of teeth, which takes up to about a minute for a very large one. Small teeth limit how far edges can be rounded: on a gear with simple teeth, 30 mm across with 12 teeth the flat between two teeth at the foot is only about 0.65 mm wide, so rounding every edge works up to about 0.5 mm, and on a bevel gear, whose top is smaller, up to about 0.4 mm. The teeth of a helical or herringbone gear lean, which narrows that flat across its slanted edges: the larger the helix angle against the gear's height, the smaller the rounding that fits. The edges of its two flat ends can be rounded, but chamfering just those edges fails in the CAD kernel; round them, or chamfer all edges together at a smaller size, such as 0.2 mm. On a herringbone gear with involute teeth and a helix angle of about 15 degrees or more, as by default, rounding or chamfering all edges at once is refused; round the ends, or the edges where the halves meet, on their own.

“ข้อต่อฟัน Hirth” is a disc whose top is a ring of V-shaped teeth running out from the centre. A copy of it, turned over, locks into it at any multiple of one tooth: for a hinge you can set at an angle, a tripod head or a knob that clicks into place. Every crest and every root is a straight line through one point on the axis, so the teeth grow from nothing at the centre to their full height at the rim and the two halves centre themselves on each other. You set the number of “จำนวนฟัน” (6 to 90), the “ความสูงฟัน” at the rim, the “รูตรงกลาง” (0 for none) and the “เส้นผ่านศูนย์กลาง”; the crests reach the full height. The tooth height goes up to the joint's whole height: the roots then reach the bottom at the rim, which suits teeth set on top of another body. New joints have right-angled teeth, and changing the number of teeth or the size keeps the angle between the flanks, which the properties panel shows; only the tooth height changes it. “ทรงฟัน” switches from “สมมาตร” teeth to “ฟันเลื่อย”: one flank of every tooth then stands at the angle set under “ด้านฟันชัน” to the face at the rim (45° to 90°, 90° being a straight step) and the other takes the rest of the tooth, so the joint turns over the gentle flanks one way and holds the other way. “ด้านฟันชันอยู่อีกฝั่ง” swaps the two. The properties panel then shows the gentle flank's angle. A copy turned over locks into saw teeth just the same. The joint stays round like a cylinder, as stretched its teeth would no longer interlock all round: every handle on the workplane changes its one diameter. For the partner, duplicate the joint, turn it 180° about X (front to back) and set it on the first, centre over centre and lifted by its height less the tooth height: then every crest sits in a root. Turned about another axis it may not fit, as one tooth would then stand on another. The Hirth joint is an exact body for the edge tool and the STEP export.

“มู่เล่ GT2” is a pulley for a GT2 timing belt with 2 mm pitch, the belt of most 3D printers. Its grooves have the GT2 shape made of arcs, so the belt sits in them as in a bought pulley. As the pitch is fixed, the “จำนวนฟัน” (10 to 200) set the size: the outside diameter is teeth × 2 mm / π less 0.51 mm, 12.22 mm for 20 teeth, and the properties panel shows it with the pitch circle. Any number of teeth works, not just the sizes you can buy. From the bottom up it has a flange, the toothed band as wide as “ความกว้างสายพาน” (about 7 mm for a 6 mm belt, 11 mm for a 10 mm belt), a second flange and the hub. “ความหนาปีก” is the thickness of each flange (0 for none) and “ความสูงปีก” how far they reach past the teeth; “ความสูงบ่า” (0 for none) and “เส้นผ่านศูนย์กลางบ่า” set the hub, “รูตรงกลาง” the bore. Width and height follow from these measures: a side handle on the workplane changes the number of teeth, the top handle the belt width. For a set screw, put a hole cylinder through the hub. The pulley is an exact body for the edge tool and the STEP export; from about 117 teeth the edge tool takes it as a triangle mesh, while the STEP export stays exact.

Springs

The “สปริง” has “จำนวนรอบ” and a “ขนาดลวด”. Together with the height they decide how soft the spring is. “ทิศการพัน” sets which way the wire runs: “พันขวา” like a usual compression spring, or “พันซ้าย”.

The edge tool and the STEP export take a spring as its exact body: a round wire along a helix, cut square at both ends. You can round or chamfer those two wire ends, for instance.

Under “รูปแบบ” the spring becomes a “แบน” spring: a band that runs in waves across the plate and flexes in its own plane, printed lying down. “ลวดลาย” gives “คลื่นโค้ง”, a “ซิกแซก” or “เหลี่ยม” turns, “ปลาย” an “ห่วง” with a hole, a “แถบ” across the band or “เรียบ”. “จำนวนโค้ง” and “ความกว้างแถบ” set how soft it is; length is the spring's length, width how far the waves reach and height how thick it is printed. A flat spring is an exact body too.

Bent tubes

A “ท่อโค้ง” consists of up to twelve sections: a straight piece followed by a bend. For each you set the “ความยาวช่วงตรง”, the “มุมดัด”, the “รัศมีดัด” and the “มุมหมุนรอบท่อ”. The section you are editing is lit up in orange on the tube, so you can follow the order. A roll angle of 0° bends within the plane of the workplane, at 90° the tube bends upward. The profile can be round, square, hexagonal or octagonal, the inside likewise, or fully solid. If the tube runs into itself, layerling warns you.

Loft

The “เชื่อมสเก็ตช์ (Loft)” joins one outline at the bottom to another at the top, like a loft in Fusion: a hose adapter from one diameter to another, a square fan onto a round duct, a stand that turns round towards the top. For each end you pick “โครงร่างด้านล่าง” and “โครงร่างด้านบน”: “วงกลม / วงรี”, “สี่เหลี่ยม” with “รัศมีมุมด้านล่าง”, or “รูปหลายเหลี่ยม” with its number of corners, plus the width and length of each end and the height. “เลื่อนด้านบนตามความกว้าง” and “เลื่อนด้านบนตามความยาว” move the top end sideways for a slanted transition; the bottom end stays where it is.

“ความหนาผนัง (0 = ตัน)” turns the solid body into a tube open at the top and the bottom. The opening is smaller by the wall at both ends, measured across; where the wall slants it is a little thinner. Drag the frame bigger and both ends grow along, while the corner radius and the wall keep their size.

“ความหนาผนังด้านบน” gives the top end a wall of its own, as soon as there is a wall: a nozzle 3 mm thick on the rectangle at the bottom that ends 1 mm thin on the round top. Until you type a value of its own it follows the wall at the bottom. In between the wall changes evenly, and on a transition through more sections each section takes the wall that suits its height.

“เปลี่ยนรูปอย่างนุ่มนวล (%)” makes the transition smooth. At 0 the sides run straight from the bottom to the top, as on a cone. At 100 they leave both ends straight up and change their size in between along an S-curve: a hose adapter that flares smoothly from a narrow to a wide pipe, instead of running like a funnel. In between the slider mixes the two. A smooth transition works together with “ความหนาผนัง (0 = ตัน)”, a twist, a tilt and a sideways offset; a tube with a wall stays open at both ends. It is an exact body like the straight one, so its edges can be chamfered and filleted, but it is built through several sections and takes a little longer to calculate.

“จำนวนช่วงต่อวงกลม” sets how finely the circles and rounded corners are drawn: how many straight pieces a full circle is made of in the view and in STL, OBJ and 3MF. It starts at 96, which is smooth for most parts; for a large round end you want to see without facets, raise it, up to 360. More pieces mean larger files. A polygon keeps the “จำนวนมุมด้านล่าง” you set. The field shows when an end is round or has a rounded corner.

“บิด” turns the section evenly about the vertical on the way up, up to 360° either way; the sides then wind round. “เอียงด้านบน หน้า/หลัง” and “เอียงด้านบน ซ้าย/ขวา” tilt the top end, up to 45°: a positive value raises its front edge or its right side. The sections in between tilt by their share, so the wall runs smoothly into the slant. The highest point stays at the set height. If the height later becomes so small that the slanted end would reach under the plate, the tilt gives way until it fits. A bend along a path, such as a pipe elbow, is not something the loft does.

“หน้าตัดระหว่างกลาง” adds up to twelve sections between the bottom and the top, for a body that does more than run from one outline to another: a fuselage, a bottle with a neck, a vase with a waist. Each section has its own outline, width and length, corner radius or number of corners, its height above the bottom and its sideways offset from the middle of the bottom end; “หน้าตัด” picks the one the fields below it are about, as with the segments of a bent tube. A new section goes into the largest gap, sized between its neighbours, and is the one shown next. “ผ่านหน้าตัดแบบ” sets how the body runs through them: “โค้งนุ่มนวล” lays one curved surface through every section, and between two sections it stays within their sizes instead of bulging past them; “ตรง” runs flat walls from section to section. “ความหนาผนัง (0 = ตัน)” works here too. Twist, tilt and “เปลี่ยนรูปอย่างนุ่มนวล (%)” are for a loft with two ends only and are hidden while there are sections between. A loft without them stays exactly as it was.

The loft is an exact body, twisted and tilted too: its edges can be chamfered and filleted, and STEP export keeps it. Add a flange with screw holes as usual and group them.

Gridfinity

The “Gridfinity” shape makes parts for Gridfinity, the open storage system by Zack Freedman: bins on a 42 mm grid that stand in a baseplate and stack on one another. The measures follow the published Gridfinity specification, so a bin from layerling fits a baseplate made with another generator, and the other way round. layerling is not part of the Gridfinity project, which is released under the MIT licence. Under “ชนิด” you choose:

• “กล่อง”: a bin with a foot under every grid unit. “จำนวนหน่วยตามกว้าง” and “จำนวนหน่วยตามลึก” count grid units of 42 mm (a bin is 0.5 mm smaller, 41.5 mm for one unit); “จำนวนหน่วยตามสูง” counts height units of 7 mm, up to 20. The “ขอบสำหรับซ้อน” on top of the wall holds the feet of the next bin and makes the bin 4.4 mm taller: a bin of 3 units with the lip is 25.4 mm tall. With “รูใส่แม่เหล็ก” every foot gets a hole for a 6 × 2 mm magnet in each corner.
• “แผ่นฐาน”: the plate the bins stand in, 5 mm tall, with a socket for every grid unit. It is an open frame with no floor and no magnet holes; with “ตัวต่อหางนกนางแอ่น” it stands on a floor (see below).
• “ถาด”: a tray of any size with a flat bottom, for board game inserts and parts that need no grid. “ความยาว”, “ความกว้าง” and “ความสูง” are free in mm, 10 to 252 mm across and deep and 3 to 140 mm high. It has no feet, no stacking lip and no magnet holes, so it does not stand in a baseplate or stack, and its corners are rounded by 3.75 mm, as a bin's are. Everything below about a bin's inside works on a tray too: its floor is 1.2 mm thick until you set it, its dividers and label shelves run up to its top, they and its finger scoops come at any height that leaves them room, and it takes as many compartments as leave each at least 6 mm wide, up to 24 along a side and 40 in all. A bin turned into a tray keeps its size, a baseplate turned into one is 20 mm high, and a tray turned back into a bin or a baseplate is rounded to grid units; with “ถาด” as the type under “ค่าเริ่มต้นของรูปทรง” in “ตั้งค่าพื้นที่ทำงาน”, a new tray starts 80 mm wide, 40 mm long and 20 mm high.

The size of a bin or baseplate is always whole grid units (or cells of 21 mm on the half-size grid below), up to 6 × 6 (252 mm, which fits a 256 mm print bed), plus a baseplate's padding (see below); a drag on a handle snaps to the nearest unit. For a larger print bed, switch on “แผ่นใหญ่ (สูงสุด 12 หน่วย)”, and a baseplate can have up to 12 × 12 units (504 mm); with your printer chosen in “ตั้งค่าพื้นที่ทำงาน”, a plate larger than the printer's bed is flagged. Switching it off brings a larger plate back to 6 units and keeps its padding; at 12 × 12, working out its edges or a STEP export takes about half a minute. The wall (0.95 mm), the floor (1.2 mm) and the depth of the magnet holes (2.4 mm) are not in the specification; the depth of the holes is fixed, and the wall and the floor can be set (see below). The sizes in this section are for the 0.95 mm wall. The specification's M3 screw holes are not made. The top of the lip is sharp, as the specification draws it; if your printer leaves it ragged, chamfer it with “ลบมุมเฉียงที่ขอบ”, up to 1 mm, which is the edge tool's chamfer of that size built in, or round it with the edge tool. A bin stacked on top rests on the lip's slope right up to the top, so a chamfer takes the top of that away: about a tenth at 0.25 mm and over a third at 1 mm. Bin, baseplate and tray are exact bodies, so fillet, chamfer and the STEP export work on them. To divide a bin, group thin boxes into it as walls: stand them on the floor, 5.95 mm up (1.2 mm in a tray, or on the raised floor), and on a bin with the lip keep their top at least 0.5 mm below 7 mm per height unit, measured from the underside of the bin (20.5 mm for 3 units), because the feet of the next bin reach 0.35 mm down into the bin. Print bins and baseplates without supports, standing as they are on the print bed.

A bin can also be made on a half-size grid: switch on “กริดครึ่งขนาด (21 mm)”, and then “จำนวนหน่วยตามกว้าง” and “จำนวนหน่วยตามลึก” count cells of 21 mm, up to 12 (the same 251.5 mm as 6 units). Every cell has a foot of its own, 20.5 mm across at the top with the specification's steps, and four of them stand in one socket of an ordinary baseplate, so a bin of 1½ or 2½ units fits beside whole ones. When “กริดครึ่งขนาด (21 mm)” is switched on, the bin keeps its outline (2 units become 4 cells); when it is switched off, an odd number of cells is rounded up to whole units. The lip follows the bin's outline as before. With “รูใส่แม่เหล็ก” each foot gets one hole, 2.5 mm both ways from its middle towards the corner of its cell that lies on the 42 mm grid, counted from the bin's left back corner: the holes line up with those of a baseplate with magnets from another generator when that corner stands on a corner of the grid; a bin of an odd number of cells can also be turned by 180°, so that this corner stands on a corner of the grid at the front right. The baseplate stays on the 42 mm grid. The half-size grid is not part of the specification.

A bin of 3 height units or more can have label shelves along its inner walls: switch on “ชั้นวางป้ายด้านหลัง”, “ชั้นวางป้ายด้านหน้า”, “ชั้นวางป้ายด้านซ้าย” or “ชั้นวางป้ายด้านขวา”, in any combination. Each shelf that is on gets its own “ความกว้างชั้นวาง”, “ความยาวชั้นวาง” and, for a shorter shelf, “ตำแหน่งชั้นวาง”; the corner settings below them apply to all of them. A shelf is flat on top for a label, with a 1.2 mm strip down at the front and an underside rising at 36 degrees. Its top is 0.85 mm below 7 mm per height unit, measured from the underside of the bin (20.15 mm for 3 units), so the feet of a bin stacked on the lip stay 0.5 mm clear of it. A bin made lower than 3 units shows no shelves; they come back at 3 units. Label shelves are not part of the specification.

“ความกว้างชั้นวาง” is how far a shelf reaches into the bin: 14 mm, at most 17.2 mm in a bin of 3 units (less with a raised floor), and 16.8 mm for two shelves facing each other in a bin 1 unit deep with 2 mm corners. With “ความยาวชั้นวาง” at 0 a shelf runs from wall to wall. A shorter one, at least 10 mm, brings up “ตำแหน่งชั้นวาง”, which moves it from the middle of its wall: to the right on the back and front walls, as the front view shows them, and towards the front on the side walls. An end that comes within 1 mm of a wall (1.8 mm with the stacking lip, whose support leans in there), or that stops on that wall's shelf, runs on into it, and two shelves that meet in a corner join into one. Where a shelf meets a wall or another shelf and there is room, the corner is rounded or chamfered: choose “โค้งมน” or “ลบมุมเฉียง” under “มุมชั้นวาง”, and the size with “ขนาดมุม” (2 mm; 0 leaves it sharp). With “โค้งมน”, a shorter shelf's free ends have their front corners rounded too, by the same size but at most half the shelf's width.

A bin can also have a finger scoop along any of its inner walls, so that small parts can be pushed out up the curve instead of being picked out where the floor meets the wall: switch on “ร่องโค้งหยิบของด้านหลัง”, “ร่องโค้งหยิบของด้านหน้า”, “ร่องโค้งหยิบของด้านซ้าย” or “ร่องโค้งหยิบของด้านขวา”, in any combination. The floor rises along a quarter circle into the wall, from wall to wall, and two scoops on neighbouring walls meet in their corner. A bin with a scoop also has every floor edge rounded by 2.8 mm, the radius of its inner corners, and the scoop is that rounding made larger on its wall. Once a scoop is on, “รัศมีร่องโค้ง” appears below the switches and applies to all of them: until you set it, it is half the height from the floor up to where the lip's support leaves the wall, 1.65 mm below 7 mm per height unit, measured from the underside of the bin, or up to the top of a bin without the lip (6.7 mm in a bin of 3 units with the lip, less with a raised floor). It is at least 3.5 mm and stays at least 0.5 mm less than that height, and across the bin it leaves at least 2 mm of floor, between two scoops facing each other or between a scoop and the wall opposite it. A bin of 1 height unit has no room for a scoop and shows no switches for it; they come back at 2 units. Finger scoops are not part of the specification either.

A bin can also have a raised floor, for a bin blank to cut shapes into: “ความสูงพื้น” sets the floor's height, measured from the underside of the bin (5.95 mm, the 1.2 mm floor on the feet, until you set it), and the bin is solid up to it. With the lip, another bin still stacks on it as long as the floor goes no higher than where the lip's support leaves the wall, 1.65 mm below 7 mm per height unit (19.35 mm for 3 units), so the lip stays whole and the feet of a bin stacked on it stay 1.3 mm clear. Above that height the lip is filled too, and the bin is a solid block with a flat top at the lip's top, 4.4 mm above 7 mm per height unit (25.4 mm for 3 units): as tall as the bins with the lip beside it, with no lip for a bin on top and none to chamfer, so “ลบมุมเฉียงที่ขอบ” goes, and with no inside “ความหนาผนัง” goes too. Between the two the field takes no height: going up, typed, stepped or dragged, it goes on to the lip's top; going down from a filled bin it stops at the highest floor a bin still stacks on. A height between them kept in a bin from an earlier version, or left there by a thinner wall, is built at that highest floor too. Without the lip it goes up to the top, and the bin is a solid block. Group holes in the shapes of your tools into it, as deep as you need. Finger scoops start on the raised floor, and label shelves reach less far into the bin so that their underside still ends above the floor; once the floor leaves them no room, their switches go (the scoops above 15.35 mm, the shelves above 15.54 mm, in a bin of 3 units with the lip) and come back when you lower it. A bin of 1 height unit with the lip and a wall of 1.6 mm or less has no room for a floor a bin still stacks on: any floor raised in it fills it to the lip's top, 11.4 mm. A raised floor is not part of the specification either.

“ความหนาผนัง” sets the wall in from the outside, which never changes, so the bin still fits and stacks as any other. It is 0.95 mm until you set it, from 0.8 mm (two lines of a 0.4 mm nozzle) up to where the walls meet. The inner corners are rounded by 3.75 mm less the wall, and square from a wall of 3.75 mm; the rounded floor edges follow them. With the lip, a wall over 1.75 mm stops at a flat ledge 0.85 mm below 7 mm per height unit, so a stacked bin's feet stay 0.5 mm clear, and a floor that still takes a stacked bin goes no higher than that ledge. Where the walls leave less than 1 mm inside, the bin is built solid and “ความสูงพื้น” is hidden. Finger scoops and label shelves without room are left out, and fewer compartments are built and offered. A bin open in full on all four sides has no wall to set. A bin switched open on all four sides is never built solid; a side whose wall leaves no room for its opening is open in full.

On a bin, “รัศมีมุม” rounds its outer corners less than the specification's 3.75 mm, down to 0 for square ones, so bins side by side in a drawer leave only their 0.5 mm gaps where four of them meet. Only the outer wall takes it, from 0.5 mm over the feet up: the feet, the inside and the slopes of the lip a stacked bin rests on keep their rounding, so the bin fits in a baseplate and stacks as before, and a bin of one unit still sits down on the slopes of its socket. Over a square corner the wall ends flat, level with the top of the lip (the bin's top without one) or with the foot of its chamfer. A corner on an open side is square already.

A bin can also be divided into compartments without grouping walls into it: under “ช่องแบ่ง”, just below “คุณสมบัติ”, “จำนวนคอลัมน์” and “จำนวนแถว” set how many, up to 4 per grid unit each way (2 per cell of the half-size grid) and 40 in all. The dividers run the full height, from the floor (or the raised floor) up to 0.85 mm below 7 mm per height unit, where the label shelves stop too, so a bin stacked on the lip sits as before. Dividers need a bin of 2 height units or more, with the floor at least 3 mm below their top; with less room the bin is built without them, and they come back once it has room again. “ความหนาตัวกั้น” is 1.2 mm until you set it, from 0.8 to 3 mm. The dividers start evenly spaced. To move one, pick it under “ระหว่างคอลัมน์” or “ระหว่างแถว”, counted from the left or from the back, and set its “ตำแหน่ง”, measured from the inside of the left or back wall to the middle of the divider; every compartment stays at least 6 mm wide. Once a divider has been moved, the dividers running that way keep their places in millimetres when the bin is resized; a new number of compartments spaces that way's dividers evenly again. Each compartment has the bin's inner corners, rounded by 2.8 mm, and its floor edges are rounded by 2.8 mm too, with or without a finger scoop. Finger scoops are repeated in every compartment: with a scoop on the back wall, each compartment has one on its back side, against the wall or a divider. In a narrow compartment the radius is made smaller so that 2 mm of floor stays flat, and a compartment too narrow even for 3.5 mm loses the scoops that run that way; a note under “รัศมีร่องโค้ง” says so. Dividers are not part of the specification either.

A bin with dividers can have a label shelf in each compartment instead of the shelves along its walls: those are for bins without compartments, and their switches come back once the bin is one compartment again. In a bin of 3 height units or more, choose a compartment with “แถว” and “คอลัมน์” (each shown when there is more than one), and under “ชั้นวางป้าย” the side its shelf stands against, the bin's wall or a divider; a side is only offered while a shelf there still leaves the compartment open. “ความยาวชั้นวาง (%)” runs from 10 to 100; a shelf that would come out shorter than 4 mm is left out, and a note under it says so. A shorter shelf brings up “ตำแหน่งชั้นวาง”: “ซ้าย”, “กลาง” or “ขวา” on a back or front side, or “หลัง”, “กลาง” or “หน้า” on a left or right side. “ความกว้างชั้นวาง” is 14 mm until you set it, less in a narrow compartment, and a shelf never reaches so far that it closes its compartment off: at least 6 mm stays open in front of it. The shelves have the profile of those along the walls, and “มุมชั้นวาง” and “ขนาดมุม” under “คุณสมบัติ” apply to them as well.

Every label shelf, along a wall or in a compartment, can carry a text raised 0.4 mm on its top as part of the bin: type it under “ข้อความ” below the shelf's rows, up to 24 characters on one line. Once a shelf has a text, “ฟอนต์” below the corner settings sets one font for all of them, a built-in one or one of your own as for a text: “ใช้” in the “ฟอนต์ของคุณเอง” window puts a font on a selected bin too, and a design keeps the outlines of the letters the bin uses, so it opens with the same letters on another computer. The letters are kerned and made as large as the shelf's top lets them. “ขนาดตัวอักษร”, below “ฟอนต์”, sets how high the capitals are, the same on every shelf, so labels of different lengths match; a shelf too small for it makes its letters as large as it lets them, and 0 lets each shelf make them as large as it can. The letters keep 1.5 mm from the wall with the stacking lip and the 0.95 mm wall, as the lip's support leans over the shelf there, and 0.3 mm without the lip or against a divider; 0.4 mm from the front, and from a free end 0.4 mm, or the rounding's size where its corners are rounded (2 mm until you set it); and they stay clear of the inner corners' rounding and of a shelf they meet in a corner. The back and front shelves read from the bin's front, the side shelves along their wall as seen from inside the bin, and a mirrored bin keeps its letters the right way round. The letters' top is 0.1 mm under the feet of a bin stacked on the lip. A text whose capitals would come out under 3 mm high is left out, and a note under it says so; a shorter text, or a wider or longer shelf, makes room. A tray has no text, as its shelves run up to its top. The letters are part of the exact body, so the STEP export has them. Inside a mirrored group the letters read the wrong way round, as a text's do; ungrouped, the bin puts them right. The edge tool works exactly on up to 700 pieces of outline at a time, the letters of every bin selected counted together: about 35 letters in Multilanguage, about 15 in Serif or Script; past that, some of the bins go to the edge tool as their meshes. To print the letters in another colour, add a colour change in your slicer at the shelf's top, 20.15 mm in a bin of 3 units; it also colours everything above it: the top 0.85 mm of the walls and the lip, 5.25 mm in all.

“สีตัวอักษร”, below “ฟอนต์”, gives the letters on all the bin's shelves a colour of their own. Until you pick one they have the bin's colour, and a note under the row says so; the arrow beside it gives them the bin's colour again, as does picking the bin's colour. The bin stays one body: the view draws the letters' tops and sides in their colour, and a 3MF gives those faces that colour in the bin's one object and paints them, and every other face in the file, with their colour's filament, as painting in the slicer would, so Bambu Studio, PrusaSlicer 2.9, OrcaSlicer and the slicers built on it, such as Snapmaker Orca and ElegooSlicer, print the letters with a filament of their own, without a colour change. The slicer shows them in its own filaments' colours: the first colour in the file, usually the bin's, is filament 1 and the letters' the next, the same in every body of the file, so set those filaments to the colours you want. Tried in Snapmaker Orca; not yet in Bambu Studio, ElegooSlicer or PrusaSlicer 2.9: feedback is welcome. Cura reads neither the colours nor the painting; for it, the colour change above still does it. An OBJ has colours only on its points, so the border between the two colours is not sharp. An STL and the STEP export have one colour, and so does a bin after the edge tool, “ทำกลวง”, “ผ่าชิ้น” or “ลดความละเอียดเมช”, which leave a body without the bin's settings, also once it is made exact with “แปลงเป็นแบบแม่นยำ”. Where a bin overlaps another body of its colour, the export may join the two into one body, and the letters then come out in the bin's colour. In a group or a bundle the letters keep their colour while “หลายสี” is on, as the parts keep theirs, also when the group goes into another one. A new group of solids, and a group in which a hole cuts the bin, start with it off, in one colour.

A bin can also be open on any side, so that bins standing side by side make one long run: switch on “เปิดด้านหลัง”, “เปิดด้านหน้า”, “เปิดด้านซ้าย” or “เปิดด้านขวา”, in any combination; with all four only the floor on its feet is left. An open side has no wall and no stacking lip above the floor. The walls beside it and their lip run straight out to the bin's outline and end square, so two open bins next to each other are 0.5 mm apart like any two bins, and the floor runs flat out to the edge and ends square there. A label shelf or finger scoop on an open side is not built and its switch goes, and so do that side's scoops against the dividers; the setting is kept for when you close the side again. Shelves and scoops on the walls beside it, and dividers that meet it, run out to the edge, and a compartment offers no label shelf on an open side; one already chosen there is left out, and a note under “ชั้นวางป้าย” says so. The feet and the magnet holes stay as they are. A bin stacked on an open bin is held by the lip on the closed sides only. A bin whose floor is raised to the top (with the lip, to the lip's top) is a solid block and shows no switches for open sides. Open sides are not part of the specification either.

A side switched open can also be opened only partly, for a slot to reach into or a lower wall at the front. Under the switches, each open side has its own rows, named here for the front: “ความลึกด้านหน้า” is the opening's depth, measured down from the top of the lip (from the bin's top without the lip), at least 2 mm; “ความกว้างด้านหน้า” its width along the side, at least 5 mm; “ตำแหน่งด้านหน้า” its position, “ซ้าย”, “กลาง” or “ขวา”; and, at an end, “ระยะห่างด้านหน้า” its distance from that end. To begin with the opening is the whole side down to the floor, which is the open side described above. A depth within 0.5 mm of the floor goes down to the floor, and a width within 0.5 mm of the whole side is the whole side. Anything less keeps the side's wall, its rounded corners and the lip, and cuts a notch with a flat bottom and square ends out of them: down to the floor a slot, across the whole side a lower wall. The opening stays on the straight part of the wall between the corners, or runs out to the edge beside a side that is open in full, where the wall has no rounded corner; a side whose straight part is shorter than 5 mm is open in full. The floor, the dividers and the lip on either side of the notch stay, so a bin stacked on it still sits on the lip, and the side's label shelf, finger scoop and compartment label shelves stay off as on any open side. On a bin built solid by its wall, a side switched open is open in full. A side opened partly still has a wall, so “ความหนาผนัง” stays even with all four sides switched open. Once a side is opened partly, “มุมช่องเปิด” (“โค้งมน” or “ลบมุมเฉียง”) and “ขนาดมุมช่องเปิด” (0, square, until you set it; up to 10 mm, the row offering as much as the largest corner takes) appear below the open sides' rows and round or chamfer the notches' corners seen from outside the wall, the two at the top and the two at the bottom, alike on every side opened partly. The top corners take the size first and the bottom ones what the depth leaves, so a size over half the depth leaves the bottom corners less, and they stay square once the top ones take all of it. Each corner takes as much of the size as the notch and the wall beside it leave room for, so on an opening placed at an end, the top corner there is no larger than the opening's distance from that end; where a corner would end just beside an edge of the wall, it is made up to 0.5 mm smaller to keep clear of it, and under 0.5 mm it stays square. An opening across the whole side has no top corners, and one run out to the edge beside a side open in full has none at that end. With the lip, a top corner is rounded or chamfered in full on the outer wall only, a little less under a chamfered lip; further in, where the lip slopes down, less.

A baseplate can have padding, for a drawer that is not a whole number of grid units: “ขอบเสริมด้านหลัง”, “ขอบเสริมด้านหน้า”, “ขอบเสริมด้านซ้าย” and “ขอบเสริมด้านขวา” add a solid border at the plate's 5 mm height (7.4 mm with “ตัวต่อหางนกนางแอ่น”) outside the grid, from 0 to 41 mm on each side. The grid stays whole units of 42 mm and moves away from the padded sides, and the outer corners keep their rounding unless “รัศมีมุม” changes it. The plate's size is the whole plate with its padding; a change of padding keeps the units, and dragging a side changes the units and keeps the padding. To fill a drawer, type its inside size into “ความกว้างลิ้นชัก” and “ความลึกลิ้นชัก”: for each, the plate takes as many units as fit, up to 6 (12 with “แผ่นใหญ่ (สูงสุด 12 หน่วย)”), and splits what is left, less 0.5 mm so the plate drops in, evenly between the padding on the two sides of that direction; the two rows show the drawer the plate fills. A drawer 230 mm wide gives 5 units, 210 mm, and 19.5 mm of padding, 229.5 mm in all; check that the plate fits your print bed. A drawer that one plate on your bed cannot fill takes several baseplates side by side, each padded only on the sides that face the drawer's walls; set their padding with the padding rows. A bin keeps the padding settings and is built without them; they come back when it is made a baseplate again. Padding is not part of the specification either. Below the padding rows, “รัศมีมุม” sets the radius of the plate's four outer corners, 4 mm as the specification draws them, down to 0 for square corners that sit in a drawer's corners; a drawer whose inside corners are rounded takes a radius at least as large as theirs, up to 4 mm. The sockets keep their rounding, so bins fit as before.

A drawer that is not a rectangle - with a corner cut away, a rounded back or an L shape - takes a baseplate fitted into its outline. Draw the drawer's inside as a sketch, or use any shape standing on the workplane, select it together with a baseplate and click “ปรับแผ่นฐานให้พอดีเส้นรอบรูป” in the properties panel. The plate fills what the shape stands on, set in by 0.25 mm as a drawer fit is: whole 42 mm cells on one grid, placed where it holds the most, at most 6 across and 6 deep (12 with “แผ่นใหญ่ (สูงสุด 12 หน่วย)”), and solid everywhere else, so every socket still takes an ordinary bin. The plate moves there; the shape stays where it is. The plate's size is then in mm, and “ความยาว” and “ความกว้าง” stretch its outline; the hint under “ความกว้าง” says how many cells it holds. Switching off “ปรับให้พอดีกับเส้นรอบรูป” turns it back into a plate of whole units with padding. An outline can be as large as one plate takes, 334 mm a side, or 586 mm with “แผ่นใหญ่ (สูงสุด 12 หน่วย)”, which then stays on while the outline needs it; for a drawer at an angle, turn the plate along it before fitting. It also has to be at least 10 mm a side, with no more than 1000 points. A photo of the drawer can give the outline too: use “ปรับสเกล” on two points whose distance you have measured, then “ลอกลาย”. A photo taken at a slant is not true to size, so treat the trace as a starting outline and check its measurements.

Baseplates printed in several pieces can be joined with “ตัวต่อหางนกนางแอ่น”, named after the swallowtail cramps that held the stone blocks of Egyptian temples together. Switched on, the plate stands on a 2.4 mm floor, 7.4 mm tall instead of 5: its sockets end on the floor, so bins stand 2.4 mm higher. Under each side without padding it has half a bow-tie pocket at the middle of each cell, 2 mm deep, so two plates side by side, their cells in line, make whole pockets across the seam. “เพิ่มตัวล็อก” lays the keys out in front of the plate, flat and ready to print: one for each pocket at its back and right, so that every pocket across a seam with the next plate gets one. Clicked again, it lays them out anew, and the keys it laid out for the plate before give way. Press a key into each pocket across a seam from below: its slotted ends squeeze past a lip at the bottom of the pocket and spring out behind it, so it clicks in and holds the plates together. The lip is only where the key's ends are slotted, so the key's middle passes the seam freely. “ระยะเผื่อตัวล็อก” sets how much smaller than its pocket each key is, 0.05 mm on every side unless you change it: raise it if the keys jam or break on your printer, lower it if they sit loose, and click “เพิ่มตัวล็อก” again; the plate stays as it is. A padded side faces a wall of the drawer and has no pockets, and a plate fitted to an outline is one piece for its drawer and has no “ตัวต่อหางนกนางแอ่น” switch. Swallowtail is not part of the specification either.

Hinge

The “บานพับ” prints in one piece and moves afterwards (print-in-place): two leaves lying open flat on the plate, with alternating knuckles on one axis between them. The pin belongs to the back leaf and runs with play through the knuckles of the front one. You set the “ความยาว (ตามแกน)”, the “ความกว้างตอนกาง” and the “เส้นผ่านศูนย์กลางข้อบานพับ”, plus the number of “จำนวนข้อ” (odd, so the pin is held at both ends), the “เส้นผ่านศูนย์กลางแกนเพลา” and the “ความหนาใบบานพับ”.

“ระยะเผื่อ” is the gap between the moving parts: around the pin, between the knuckles and in front of the leaves. With 0.4 mm a well-tuned printer usually breaks free with a small twist; if the parts fuse, raise it, if it wobbles too much, lower it. Print the hinge lying down as it appears on the plate, without supports (a raised leaf, below, needs them under it). If you would rather use a pin of your own, such as a piece of filament or wire, which is smoother than a printed pin on a small hinge, choose “ไม่มีแกนเพลา (ใช้ของคุณเอง)” under “แบบ”: the printed pin is left out and the bore, the pin diameter plus the clearance, runs through every knuckle, the ends included. With “มุมเปิด” you fold the second leaf up about the pin to place the hinge as it stands in your design: 0° lies flat as it prints, 180° is closed, and below 0° it folds down past lying flat, as far as -180°. The angle does not stop where the leaves meet; “ตรวจระยะเผื่อ” with “ตรวจชิ้นส่วนที่แยกกันในวัตถุเดียว (พิมพ์ประกอบในตัว)” shows whether they touch. The knuckles stay where they are and the hinge remains one piece; remember to set it back to 0° before printing in place. You can add holes to the leaves or group them into a larger part, such as a lid.

A hinge can also be made “แบบกรวย” (under “แบบ”): every other knuckle then ends in cones that nest into conical recesses of the knuckles beside it. There is no pin and no long bridge that could sag, so it prints lying flat; the cones stand at 45°. Like the other styles it is an exact body, so chamfers and fillets work on it and the STEP export holds its true cones, and it makes fewer knuckles where they would be too short for a cone. Instead of the number of knuckles you can give the “ความกว้างข้อ (สูงสุด)”: the knuckles are then at most that wide and their number follows from the length; typing a number of knuckles takes the width away again.

“แบบ” has four choices: “มีแกนเพลา”, “ไม่มีแกนเพลา (ใช้ของคุณเอง)” (the bore for a pin of your own), “แบบกรวย” and “แบบยกถอดได้”. With cones, “เส้นผ่านศูนย์กลางกรวย” sets how big the cones are where they grow from their knuckle; bigger cones hold better, and by default they are as large as fits. The cone hinge has no pin and no bore, so its leaf may be as thick as the whole knuckle: set “ความหนาใบบานพับ” to the knuckle diameter and the leaves lie flush with the knuckles; such a hinge opens about 90° and no further, because the thick leaves meet.

For screwing the hinge on, set the “จำนวนรูสกรูต่อใบ”: up to six holes along the axis, at the “เส้นผ่านศูนย์กลางรู” you choose. Under “รู” they are “เคาเตอร์ซิงก์” by default, at 90° for countersunk screws, on the side that faces the other leaf when the hinge is closed, so the heads lie flush; “รูตรง” leaves them plain. Without further values the holes share the length evenly and sit in the middle of each leaf; “ระยะห่างรู (ตามแนวยาว)” and “ระยะห่างรู (ตามแนวขวาง)” set them centre to centre, for instance to match a bought hinge you replace. Every hole keeps half a millimetre of leaf to the edges, the knuckles and the next hole; where fewer fit, there are fewer, and the field says so. “รัศมีมุม” rounds the four outer corners of the leaves. With a pin or without, holes and corners stay exact in the STEP export and for the edge tool.

Under “รูปทรงใบบานพับ”, “แบบนิ้ว” gives each knuckle its own finger, as wide as the knuckle, instead of a leaf on each side; the fingers of the two sides alternate like two combs. As no finger lies under a knuckle of the other side, the hinge folds all the way round, and with the style “แบบกรวย” and fingers as thick as the knuckle (“ความหนาใบบานพับ” up to the “เส้นผ่านศูนย์กลางข้อบานพับ”) it closes flat, the fingers of one side between those of the other. No leaf joins the fingers of a side: with the printed pin they hang on it, with cones, or without the pin until your own goes in, they are loose pieces. Join each side to your model, for instance one comb to a box and the other to its lid, or group them with it. “รัศมีมุม” then rounds the tips of the fingers; fingers take no screw holes.

“ใบยกสูง” lifts the front leaf so that, closed, it lies flat on the back leaf with the “ระยะเผื่อ” between: it stands higher by the “เส้นผ่านศูนย์กลางข้อบานพับ” less the clearance and twice the “ความหนาใบบานพับ”, and starts a little further from the axis to keep the clearance to the other knuckles. Such a hinge opens far past lying flat before the leaves meet: with a 6 mm knuckle and 1.1 mm leaves about 125° below 0°, some 305° from closed, where a hinge with plate leaves stops near 84° below 0°. The raised leaf prints over air, so give it supports from the plate. Screw holes, countersinks and nut pockets go with it and still face the other leaf when closed. With the style “แบบกรวย” both leaves and the clearance between them have to fit within the knuckle diameter, so a thicker leaf is made thinner.

“แบบยกถอดได้” makes a lift-off hinge, as on many doors: two knuckles, the lower one carrying the pin to the end, the upper one a sleeve that lifts off it, so a lid or a door comes off and goes back on. Its knuckle count is always two. It prints in place lying flat like the others; to print it standing, the pin upright, take it apart with “แยกชิ้นส่วน” and stand the pin's piece on its knuckle and the other piece on its sleeve: then neither needs supports. Mirror it for the other hand. Under “รู”, on every style, “ช่องใส่น็อต” cuts a hexagonal pocket for a nut over each hole, on the side that faces the other leaf when closed, so a bolt from below holds; “เคาเตอร์ซิงก์ + ช่องใส่น็อต” countersinks the back leaf (the one with the pin) and gives the front one the pockets. “ความกว้างน็อต (วัดข้ามด้านแบน)” is the nut's width across the flats; at 0 it follows the hole (M3 5.8 mm, M4 7.3 mm, with play). The pocket is as deep as a nut is high but leaves 0.6 mm of leaf below it, so a thicker leaf takes the nut deeper.

Flexi joints

“ข้อต่อขยับได้” turns a flat body into a figure that moves, such as a fish, a snake or a dragon, printed in one piece (print in place). You draw or build the body yourself, for instance from a sketch or an SVG you extrude. The tool cuts it across its length into links and puts a joint at every cut: one link carries an upright knuckle that is thicker in the middle than at its ends, the next one wraps round it with clearance. So the joint holds without fusing, and every slope is at 45°, so it prints without support. Between the links a wedge stays open, as wide as the links should swing to the side.

Select the body (several parts are joined, holes among them cut away) and click “ข้อต่อขยับได้”. In the window you set along which side it is cut (“ด้านที่ยาวกว่า” takes the longer one), how many “ข้อต่อ” there are, the “ระยะเผื่อ” (0.4 mm suits most printers) and the angle for “ส่ายได้แต่ละข้าง”. The joints are sized to the body; without “ปรับขนาดข้อต่อให้พอดีชิ้นงาน” you give the “เส้นผ่านศูนย์กลางข้อต่อ” yourself. Without “ให้ทุกข้อยาวเท่ากัน” you set how far the first joint lies from the start and the last from the end, so that a head, say, stays one large piece. Where a joint goes, the body should be about 6 mm high and 12 mm wide at least; if one does not fit, the window says which.

With “ข้อขยับแบบ” set to “ขึ้นลง”, the links fold up and down instead, like the bands of a flexi keychain, an egg or a bracelet. Every cut then becomes a hinge lying flat across the body at half its height: three or five knuckles side by side that belong to the two links in turn, with a cone at 45° on each knuckle of the one link reaching into the next knuckle of the other. Beside the knuckles the cut is a V seen from the side, open as far as “พับขึ้นลงได้”. The hinge takes its size from the body's height, so there is no joint size to set; the body should be 3.5 mm high at least where the hinges go (5 mm or more holds better) and about 15–20 mm wide.

The result is a bundle of links (meshes) that you print as it lies. If you do not like the cut, undo it and try other values. A first test print with two or three joints shows whether the clearance suits your printer.

Knurling

The “ลายกันลื่น” is a round grip with grooves all around, for knobs, thumb wheels and tool handles. Under “ลวดลาย” you pick “ตรง”, grooves along the axis as on a control knob, “ไขว้”: two slanted rows of grooves cross into small diamonds, or “โค้งมน”: grooves and ridges along the axis as a soft wave of arcs, a pleasant grip without sharp ridges. Round grooves stay shallower than half a pitch, or the ridges would bulge at their foot; a depth too great gives way. You set the “เส้นผ่านศูนย์กลาง” and the “ความสูง”, the number of “จำนวนร่อง” and the “ความลึกร่อง”; for crossed knurling also the “มุมร่อง” to the axis. The “ลบมุมเฉียงที่ปลาย” breaks both ends at 45 degrees, as on a turned knob; 0 leaves them sharp.

Straight and round knurling are exact bodies, so their edges can be broken and rounded. Crossed knurling stays a mesh, because as an exact body it would take almost a minute to compute with 30 grooves. For a knob on a shaft, group the knurl with a hole, such as a “เกลียว” set as a tapped hole. Grooves shallower than 0.4 mm hardly any printer prints cleanly, and layerling does not set them closer than 0.8 mm around the grip: a thin grip gets fewer of them.

Dovetail

The “ข้อต่อหางเหยี่ยว” is the joint in which two parts lock into each other and can only be slid together sideways. You set the width at the wide end, the “ความกว้างคอ” and the length of the tail. Copy the tail for the other side and make the copy a hole: “ระยะเผื่อเมื่อเป็นชิ้นเจาะรู” then gives a little play so the joint does not jam after printing.

Teardrop hole

A hole lying on its side gets a bridge across its top when printed, and the bridge sags. The “รูทรงหยดน้ำ” therefore has a point on top: every layer rests on the one below, and the hole comes out round enough without supports. Set the “เส้นผ่านศูนย์กลาง (ส่วนกลม)” to the size of the hole, about 3.4 mm for an M3 screw, and the “ความยาวรู” long enough to reach through the part. The “มุมปลาย” is 90°, so the flanks meet at 45°. Most printers handle that cleanly; a flatter point needs more height, a steeper one saves it.

Make the teardrop a hole and group it with the part. Its length runs along the depth and the point faces up. For a hole in the other direction, turn it by 90° around the vertical axis.

A tapped hole on its side sags at the top in the same way. Give it a teardrop of its own: add a “รูทรงหยดน้ำ” hole whose “เส้นผ่านศูนย์กลาง (ส่วนกลม)” is the core of the thread, the diameter its teeth leave free (about 8.4 mm for M10), the same length as the tapped hole, and select both. Click “จัดแนว” and bring them into line in the middle - the middle of the teardrop is the middle of its round part, not of its box with the tip, so the two circles lie on each other - and group both with the part. The thread is cut as usual and the tip opens the top of the hole, so it prints without supports.

Port openings

A box for electronics needs an opening for the cable. The “ช่องเปิด” is that opening: a hole lying on its side, with rounded corners. Pick the socket under “ช่องต่อ” - “USB-C”, “Micro-USB” or “USB-A” - and it gets the socket's size plus about 0.25 mm of room on every side. “USB-C เผื่อที่สำหรับหัวปลั๊ก” is for a socket that sits behind the wall, where the plug's housing has to reach in. The width, the height and the “รัศมีมุม” can be changed by hand; the list then shows “กำหนดเอง”. “HDMI”, “Mini-HDMI”, “Micro-HDMI”, “DisplayPort” and “Mini DisplayPort” have their lower corners cut off at a slant like the socket, DisplayPort only the left one, and “RJ45 (สายแลน)” fits a network jack; these sizes come from the makers' recommended panel cut-outs and the VESA drawings. “ระยะเผื่อเพิ่ม” adds more room on every side on top of that, and the list still shows the socket: for a printed box 0.2 to 0.5 mm, so the board slides in.

For model batteries and motors the list has “XT30”, “XT60”, “MT60 (3 ขา)” and “MPX (Multiplex)”, lying and about 0.25 mm wider than the plug all round, so the plug goes through - the sizes from the Amass drawings and Multiplex. “D-Sub 9 (พอร์ตอนุกรม RS-232/RS-485)” is the panel cut-out for the serial port's plug (RS-232 or RS-485), its sides slanting like the plug. Its two 3.18 mm screw holes come with it, 24.99 mm apart at the opening's middle height: the opening and the holes are one group, so they move and turn together, and grouped with a wall all three are cut.

For Anderson Powerpole (PP15, PP30 and PP45) the list has “Powerpole 1 ขั้ว” to “Powerpole 4 ขั้ว”: the housings stacked side by side, 7.9 mm per pole, with room for their dovetail tongues and about 0.25 mm all round - the sizes from the Anderson drawing.

It comes as a hole, facing front. Set the “ความลึก” a little more than the wall is thick, move it to where the socket sits on the board and group it with the box. For a side wall, turn it by 90° around the vertical axis.

SBC boards

The “บอร์ด SBC” is a single-board computer true to size, to build a case around: the board with its four mounting holes, and its parts, each in its own colour: the sockets in their own outline - USB-C with round ends, the HDMI sockets with their lower corners cut - the USB and network housings with their openings, the audio jack with its round collar, the pin headers with a dot for every pin, the larger chips as blocks. Choose it under “บอร์ด”: Raspberry Pi 5, 4 Model B, 3 Model B+ or Zero 2 W, BIGTREETECH Pi V1.2, or one of the small ESP32 boards: Seeed Studio XIAO ESP32-C6, ESP32-C3 Super Mini or ESP32-C6 Super Mini - these have no mounting holes, their USB-C is at the right end, and their castellated pins show as dots. The two Super Minis have no maker's drawing; their sizes come from published community models and are all estimated. Or one of the microcontroller boards: Adafruit ESP32-S3 Feather, Arduino UNO R3, Arduino MEGA 2560 Rev3, Arduino Nano or LOLIN (WEMOS) D1 mini V4.0.0 - their USB socket is at the left end, as in the makers' own PCB files, and the UNO and the MEGA keep their stepped outline. The Feather's heights come from Adafruit's 3D model; Arduino's files give none, so on the UNO, the MEGA and the Nano they are estimated. The D1 mini follows Wemos's dimension drawing, without its two mounting holes; its parts' sizes and heights are estimated. The Raspberry Pi Pico, Pico W, Pico 2 and Pico 2 W come from Raspberry Pi's own 3D models, with micro-USB at the left end; the Pico 2 W has no model of its own and takes the Pico W's parts, estimated. Two camera boards follow: the ESP32-CAM (AI-Thinker) with its ESP32-CAM-MB USB programmer board under it, and the nulllab ESP32-S3-CAM with USB-C; neither maker gives the parts' places and heights, so they are estimated, and the microSD card slot is a connector at the edge on the ESP32-CAM. On both, Camera lens up through the lid makes the lens reach up through a lid by Reach up. Last come the ESP32 boards with the WROOM module: Espressif's ESP32-DevKitC V4 (38 pins) from Espressif's own dimension drawing, and the 30-pin ESP32 DevKit V1, sold unbranded, from a published true-size drawing and so all estimated. On every board with buttons, Button reach (0 at first, up to 100 mm) makes RESET, BOOT and power reach the way they are pressed: up through a lid, or out through the wall for the Pi 5's power button and the D1 mini's RESET, which are pressed from the side. Its front edge, with USB-C and HDMI, faces you. The outline and the holes come from the makers' drawings and models; a height no drawing gives is estimated.

The board shows where the posts for its screws go and how tall the case must be. For the openings, give the connectors room under “ระยะเผื่อช่องต่อ” - 0.2 to 0.5 mm for a printed case - make a copy of the board a hole, put it where the board sits in the case and group it with the case: every connector at the edge cuts its opening through the wall. The real connectors stand out of the board only 1 to 3 mm, less than many walls are thick: “ยื่นทะลุผนัง” makes each connector at the edge reach that much further out on its side, so it cuts right through - a little more than the wall is thick. Another board or setting makes it again where it stands. Every board takes both settings the same way.

The microSD card slot is a connector at the left edge too, under the board (on the Zero 2 W on top), so the reach cuts the card's way through the wall; the board then stands on the slot, 1.4 mm under its underside. The ribbon cables can come out as well: “สายแพขึ้นทะลุฝา” opens the camera, display and PCIe connectors up through a lid, “สายแพออกทะลุผนัง” lays an opening from each across its long side - the way the cable leaves it - to the nearer edge and on by the reach; on the Raspberry Pi 5 the camera and display cables come out at the PCIe end, the three openings one above the other, on the Pi 4 and 3 B+ the camera's above the display's. “ขา GPIO ขึ้นทะลุฝา” takes the pin header up through the lid, for a HAT or jumper wires. What goes up reaches “ยื่นขึ้นด้านบน” over its top, at least 20 mm, and gets the clearance round it.

Counterbore and countersink

A screw head often should not stand proud. The “รูจมหัวสกรู” cuts a round pocket for a socket-head screw (DIN 912), the “รูเตเปอร์” a cone for a countersunk screw (DIN 7991). Both stand with the head end up: the “เส้นผ่านศูนย์กลางหัวสกรู” is the diameter of the pocket or the cone, the “เส้นผ่านศูนย์กลางก้านสกรู” the bore below it, the “ความยาวทั้งหมด” the whole length. On the counterbore you set the “ความลึกหัวสกรู”, on the countersink the “มุมกรวย” (90° suits countersunk screws). The defaults fit an M3 screw.

The “รูเตเปอร์สองด้าน” is a hole chamfered on both faces, for a plate that is to look neat on its front and its back. It has no entry of its own in the shape library: take the “รูเตเปอร์” and switch on “ทั้งสองด้าน” in its properties (bodies that are a double countersink already show the switch on): a cone at each end opens to the “เส้นผ่านศูนย์กลางหัวสกรู”, with the “เส้นผ่านศูนย์กลางก้านสกรู” between them. You set the “มุมกรวย” and the “ความยาวทั้งหมด” as before. If the hole is too short for two full cones, they meet in the middle at that angle and the shaft stays wider than you set: a head of 10 mm, a shaft of 6 mm, 90° and a length of 2 mm make two cones from 10 down to 8 mm. As a hole it is pushed through a part like the others.

Make the shape a hole and group it with the part. Let its top end a little above the surface the head should sit on, so the pocket opens cleanly. For the pocket of a hex nut, use a “รูปหลายเหลี่ยม” with six sides as a hole. Under “ขนาดสกรู” you pick M2 to M30 (the countersink up to M20), and the shaft (clearance hole to ISO 273, medium), head diameter and depth or angle follow the standard (DIN 974-1, ISO 15065); the length stays. On the hexagon, “ช่องใส่น็อต” sets the width across flats and the height of an ISO 4032 nut, with 0.4 mm of room for printing. The countersink also offers the inch sizes #2 to #14 of ASME B18.6.1: their heads are 82°, and the gauges Australian wood screws are sold by are the same numbers (a 6-gauge is a #6).

A drilled blind hole does not end flat but in the cone of the drill's tip (Discussion #621). The “รูจมหัวสกรู”, the “รูเตเปอร์” and a “ทรงกระบอก” set as a hole can end that way: under “ก้นรู”, pick a drill point of 90°, 118° (a common twist drill) or 135°, or “ปลายดอกสว่าน มุมอื่น” and type the angle under “มุมปลายดอกสว่าน”, from 60° to 150°. As in a drawing, the depth – the cylinder's “ความสูง”, the screw hole's “ความยาวทั้งหมด” – counts to the shoulder where the cone begins; the tip lies beyond it, about 0.3 times the diameter at 118°, and the line under the angle says how far. The cone is as wide as the hole, on a screw hole as wide as its shaft. “เรียบ” leaves the bottom as it always was. A solid cylinder keeps its flat end, and so does the double countersink, which goes through.

A slotted hole leaves a part room to be moved a little before the screw is tightened, to line it up (Discussion #1531). Switch on “รูยาว” on the “รูจมหัวสกรู”, the “รูเตเปอร์” or the “รูเตเปอร์สองด้าน”: the pocket or the cone and the shaft then run round the two ends of a slot and straight along its sides. “ความยาวรู” sets how far; it starts as long as the head is wide and runs along the width, so turn the hole to point it another way. The “เส้นผ่านศูนย์กลางหัวสกรู” and the “ขนาดสกรู” change the head and keep the slot. A slotted hole has no drill point, and like the round one it is an exact body.

A countersunk screw head ends flush with the face. To sink it deeper, set “หลุมฝังหัว” on the “รูเตเปอร์” (Discussion #1531): a straight pocket as wide as the head then sits above the cone, that many millimetres deep, and the “ความยาวทั้งหมด” includes it. On the “รูเตเปอร์สองด้าน” the pocket is at both ends. At 0 the head stays flush as before; a slotted hole takes it too, and it stays an exact body.

To take the sharp edge off a counterbore's rim, set “ลบมุมเฉียงที่ขอบปากรู” on the “รูจมหัวสกรู” (Discussion #1632): the top of the pocket then opens at 45 degrees by that many millimetres. The chamfer lies outside the “เส้นผ่านศูนย์กลางหัวสกรู”, so the screw head still fits, and it stays shallower than the “ความลึกหัวสกรู”. At 0 the edge stays sharp as before; a slotted hole takes it too, and it stays an exact body.

The “แหวนรองหัวเตเปอร์” (a rosette, Discussion #1131) is the domed washer that goes under a countersunk or raised countersunk screw, for a tidy look on wood or a cover. It is a solid part, flat underneath; from a low rim a dome rises to the seat, a cone for the screw head, with the bore below it. Under “ขนาดสกรู” you pick M2 to M20: the bore is the clearance hole and the seat the countersink of that size, the “เส้นผ่านศูนย์กลาง” and “ความสูง” follow from them (M3: 10.3 by 2.95 mm, M6: 16.6 by 4.5 mm). You can also set the “เส้นผ่านศูนย์กลาง”, “ความสูง”, “รูตรงกลาง”, the “เส้นผ่านศูนย์กลางหัวสกรู” at the top of the seat and its “มุมกรวย” yourself. It stays round, and it is an exact body, so the edge tool and STEP work on it.

Screw boss

The “เสายึดสกรู” is the post a lid or a board is screwed to in an enclosure: a round post with a hole from the top. Under “ตัวยึด” you choose what goes into it. A “เม็ดเกลียวฝังด้วยความร้อน” is a brass insert pressed in with a soldering iron: “ขนาด” offers M2 to M5 and #2-56 to 1/4-20, the hole as the common inserts want it (M3: 4.0 mm for an insert 5.7 mm long), a millimetre deeper than the insert so the plastic it pushes aside has room, and the post about twice the hole. A “สกรูเกลียวปล่อยสำหรับพลาสติก” cuts its own thread: ST2.2 to ST4.2 (DIN 7981), plastics screws of 2.5 to 5 mm (K25–K50) or #2 to #10, with a pilot hole of about 0.8 times the screw, the post 2.5 times it and the hole 2.5 screws deep. “กำหนดรูเอง” takes the diameter and depth you type in.

“เส้นผ่านศูนย์กลางรู”, “ความลึกรู” and “เส้นผ่านศูนย์กลางนอก” can be changed by hand; below the diameter the panel says how thick the wall round the hole is, and warns when it is thinner than the fastener wants. A hole as deep as the post goes through. The hole's mouth has a small chamfer, so the insert or the screw finds its way in. “ครีบค้ำ” adds two to six thin ribs from the post down to the floor; “ความกว้างรวมครีบค้ำ”, “ความสูงครีบค้ำ” and “ความหนาครีบค้ำ” set how far out, how high and how thick they are.

Stand the boss on the floor of a hollowed box and group it with the box; in the lid, a “รูจมหัวสกรู” as a hole over it takes the screw head. Set as a hole and grouped with a solid part, the boss cuts only its hole – the pocket for the insert or the screw, with its chamfer – so a block or a post of your own gets a blind hole for an insert; the hole opens where the boss's top is. Printed holes come out a little smaller than drawn: print one boss first and adjust “เส้นผ่านศูนย์กลางรู” by a tenth or two.

Snap-fit

A lid that clicks shut needs no screws. The “ตัวล็อกสแนป” is a hook on a foot with its counterpart, the catch. With “ชิ้นส่วน” set to “ตะขอและตัวรับ” the two stand where they sit when snapped in, so you place them on lid and box together; “ตะขออย่างเดียว” or “ตัวรับอย่างเดียว” makes one of them. The barb has a slope below it that lets it slide in, the “มุมทางเข้า” (30° goes in easily), and above it the face that holds: at a “มุมล็อก” of 90° it holds for good, at 45° it can be pulled apart again. The “ความลึกเขี้ยว” is how far the barb reaches under the catch, “ระยะเผื่อ” the play between the two.

The arm bends by the undercut as it goes in. Below “ความหนาก้าน” the panel says how much it stretches at its root: PLA starts to break above about 2 %, PETG and ABS take about 4 %. A longer or thinner arm, or a smaller undercut, stretches less. The pair stands as it sits in a box printed upright, the lid on top: the hook hangs from its foot, the catch's top slopes at 45°, and only its holding face, as wide as the undercut, reaches out flat, so it prints on the wall without support.

Put the pair where the lid meets the box wall: the hook's foot under the lid, the catch's back against the inside of the wall. “แยกชิ้นส่วน” then splits them into two bodies; group the hook with the lid and the catch with the box. If you can, print the lid so the arm lies flat: an arm standing up bends across its layers and breaks more easily.

Ribs

The “ครีบเสริม” stiffens a floor or a wall. As a “ครีบตรง” it is as long, high and thick as you set, its “ด้านบน” flat, round or chamfered. As a “ครีบค้ำ” it is a triangle that braces a wall against the floor: “ตามแนวพื้น” along the floor, “ขึ้นตามผนัง” up the wall, both ends cut off short so they print cleanly.

With “ฐาน” switched on, the rib stands on a thin plate along its whole length, centred under it and wider than it (a gusset's lies under its side along the floor), which holds it on the bed or the floor, so a thinner rib still stands. The foot starts three times as wide as the rib and 0.8 mm thick; “ความกว้างฐาน” is measured all the way across, so the shape is as wide as the foot, and “ความหนาฐาน” from the bottom up.

Under “รูปทรงฐาน” the foot is “เหลี่ยม” or “วงรี”. The oval foot is an ellipse seen from above, without corners that could lift off the bed as the plastic shrinks while it cools. It is as wide as the foot and just long enough that at the rib's two ends it is still twice as wide as the rib, so the ends stand on it as well (under a gusset it is half an ellipse, from the wall to past the tip). On a foot narrower than about 2.7 times the rib the ellipse would get long: it stops at one and a half times the rib's length, but never so short that the ends stand on nothing. The shape grows by what reaches past the ends; the rib keeps its length.

A rib about as thick as the wall or a little thinner, a multiple of the line width (0.8 or 1.6 mm with a 0.4 mm nozzle), and a few times as high as it is thick stiffens without pulling the wall out of shape. Several in a row come from “เรียงซ้ำ”; group them with the box.

10. Measuring and notes

Tape measure, ruler and framing square, distances to the origin, notes that stay attached to a part, and reference points that things snap to.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

To build a part exactly, you need to measure. layerling has several tools for that. None of them ends up in an export. Wall thickness and gaps inside a part are best measured in the section view with “วัด”.

The tape measure

The tape measure sits at the lower end of the view bar on the left edge (“ตลับเมตร”). It measures distances between corners, edges and faces. A click on it opens five buttons. If they cover what you want to measure, drag them by the grip on the left anywhere on the workplane; a double-click on the grip puts them back:

1. “เพิ่มการวัด”: Click one point, drag to the next and click it. The distance is labelled, with the axes it runs along in front: X, Y or Z for a straight one, XY, XZ or YZ across a plane, 3D for all three. Hover over the label to see how far it reaches along each axis, over a point to see its coordinates. While you place the second point, the axes, the distance and the reach along each axis show beside the pointer. A measurement that lies mostly behind another body fades; hovering its line or label brings it back. On an opposing edge or face, the second point snaps in at a right angle to the first when the pointer comes near - or anywhere on that edge or face while you hold Shift. Along the same face or on the workplane, Shift keeps the measurement straight along the main axis. Besides corners and edges, a point snaps to the middle of the flat face under the pointer and to the centre of a round edge, such as the rim of a hole or of a cylinder: a small cross in a circle marks the centre on offer, and when the pointer comes near, the point snaps in and a hint says what it is the centre of (“จุดกึ่งกลางหน้า”, “จุดกึ่งกลางรู” or “จุดกึ่งกลางวงกลม”).
2. “ย้ายจุดวัด”: Grab the points and move them, the number follows.
3. “ลบส่วนของการวัด”: Afterwards click a measurement to remove it. While “เพิ่มการวัด” is active, holding Shift or Ctrl (Cmd on a Mac) and clicking a measurement point or line deletes it right away without switching modes.
4. “วัดทั้งเส้นขอบ”: A click on an edge measures all of it. A round edge says its diameter (Ø), the rim of a hole or of a cylinder for example, and an arc its radius (R); point at the number to see the length along the edge. With this switched off, a click puts a point on the edge instead, and the second point goes anywhere, so you can measure the diameter or any other distance. Alt turns the switch round for one click. On a circle, the point across from the first one snaps in when the pointer comes near, and the points sit on the true circle, so the diameter comes out exact.
5. “ลบการวัดทั้งหมด”: Removes every measurement at once. Because this cannot be undone, layerling asks first; with no measurements there is nothing to do.
6. “ทำเครื่องหมายจุดกึ่งกลางเป็นจุดอ้างอิง”: In the middle of every measurement sits a small round mark, its lower half filled. It puts a reference point in the middle of the measurement: after a click on a round edge, such as the rim of a hole, in the centre of that circle - on an imported mesh too, where nothing else marks the middle of a hole - and for a diameter or any straight measurement halfway along it. A shape you drag then snaps to the point with its centre. A point that is there already is not made twice. The tape measure snaps to a reference point like to a corner, so you can measure from the centre of a circle or from the middle of a line: mark it, then click the point.
7. “พิมพ์ความยาว: ชิ้นงานที่จุดที่สองจะเลื่อนไปตามเส้น ความยาวติดลบจะเลื่อนเลยจุดแรกไป”: When at least one end of a straight measurement sits on a body, its number can be clicked. Type a new length and press Enter: the body at the second point moves along the measured line until the distance is exactly that, as with the ruler in Tinkercad. If only the body at the first point is selected, that one moves instead. The measuring points stay on the body, so the measurement follows. Measure from a corner, an edge or the centre of a face or a hole to place parts at an exact distance: from the centre of a hole to the middle of a cylinder's top, the cylinder moves centre to centre. A negative length takes it that far past the first point, say 5 mm inside the edge of a box. A reference point belongs to no body, so between two of them nothing moves. When the measurement runs along two or three axes, the field also has a box under the length for each of them (ΔX, ΔY, ΔZ, the reach shown when you point at the number): type there instead, and the body moves along that axis only. Tab goes from box to box, Esc closes the field without moving anything. Pointing at the number tells which body will move, or why none can: it is locked, both points lie on the same body, or neither lies on a body. The message afterwards says what moved and how far; one undo takes it back.

Esc leaves measuring mode.

The ruler

You fetch the “ไม้บรรทัด” from the shape library. It is purely a measuring tool: it appears in no export and can neither be grouped nor cut. For every body that touches or overlaps the ruler, it shows the extent as a floating number right in the view. You can change that number right there, and the body follows. Stand the ruler up or tip it, and it measures along its own direction: upright beside a body it shows the body's height. The floating plus symbol creates a copy of the measured shape; it is there while the ruler lies flat. Its printed scale is in millimetres along one long edge, with the tens numbered, and in inches along the other, with a line every sixteenth of an inch and the whole inches numbered. The scale of the unit you work in (the switch at the bottom right) runs along the top edge; a ruler narrower than 15 mm carries only that one.

The framing square

Sometimes you measure better at a right angle. Click “วางไม้ฉาก” in the view bar and then the workplane. A framing square with two arms at a right angle, with tick marks like a try square, is placed there. It has no body of its own either. Click close to the corner of a body, and its corner snaps exactly there. The design keeps the square where you set it, also in a saved .lyl file: when you open the design again, it is in the same place, turned the same way and measuring from the same points, until you remove it. If you need it in almost every design, switch on “เริ่มงานออกแบบใหม่พร้อมไม้ฉากที่จุดกำเนิด” under “การวัด” in the settings: every new design then starts with a framing square at the origin.

The framing square lies on the workplane. If that sits on the side of a body, the square lies on that side too, see View and workplane. That is how you dimension on a vertical wall: put the workplane on the wall, place the square at its top left corner and click the handle until the arms point right and down.

• Dragging the handle moves it.
• A short click on the handle turns it by 90°.
• The × beside it removes it.
• Dragging the small circle at the end of an arm makes that arm longer or shorter, in whole millimetres. The lowest button under the handle, “แขนยาวเท่าฐานพิมพ์ (ลากปลายแขนเพื่อเปลี่ยนความยาว)”, makes both arms as long as the build plate is wide and deep, for the printer set in the settings. The square keeps its arms' lengths with the design, and a square set again takes them over.
• “แสดงหรือซ่อนแขน” (the button with three axes, just above) opens a switch for each arm, named after the axis it runs along. Besides the two arms in the plane there is a third that stands up from the corner, square to the workplane: on the plate it points up along Z, with its own ticks, for a cylinder or anything you build upwards. It is off to begin with: click its letter to show it, and drag the small circle at its end to make it longer or shorter. The arms in the plane can be switched off the same way when they get in the way; one arm always stays. The green numbers of a selected body stay whichever arms are shown, and the design keeps which ones are.
• The small button left of the handle switches what is measured from: the outside of a body (endpoint, an icon with lines) or its middle (midpoint, a crosshair). A small switch of the same kind sits beside each green number and sets that number alone: for a standing cylinder the middle in the two arms and the bottom in height, for a lying one the middle across and an end along. When all three agree again, the button at the handle shows the common mode.

If bodies stand at one of the arms, the framing square shows their dimensions automatically, selected or not: bodies inside the square, beside an arm or across it. A body outside it, behind the corner or beside an arm from the outside, gets none. That works on the base plate only, not on the side of a body. The button with the arrow under the square's handle switches that off, so that only the selected bodies show their dimensions; it is kept with the design.

When you select a body, the framing square shows in green how far it is from the corner, along both arms and in height. Click a green number to type a distance, and the body moves exactly there. With several bodies selected, they count as one: the ruler measures their shared outline, and a typed value moves them all together without changing their positions relative to each other.

The guide lines of the green numbers run along the floor, the plane the framing square lies in, to the point below or beside the body; the height has its own arrow. The switch of each number sits in the frame of the number. The arms and the ticks are lines in the room: a body in front of them hides them, as a real square would be hidden. The small eye below the handle switches that: with the eye struck through, bodies hide the square (the start); with the eye open, the square stays in view over everything. The numbers on the arms fade where a body stands in front of them.

With the midpoint, the green numbers count to the middle of the body, in height as well. That way you place a sphere with its centre exactly 15 mm from an edge, without subtracting the radius. On a wall you place a hole 40 mm from the left and 190 mm from the top like this: select the hole, switch to midpoint, type 40 and 190. The height there counts outward from the wall.

Both the tape measure and the framing square stay where they are while you sketch and come back to the 3D view. Neither is in the history. The framing square is kept with the design, and so are the measurements of the tape measure, in the browser and in the .lyl file: they are there again when you open the design. The eye button among the tape measure's buttons hides all measurements and shows them again; whether they are hidden is kept as well, and adding, moving or deleting a measurement shows them first.

The protractor

Click “ไม้โปรแทรกเตอร์” in the view bar to measure an angle. A row of buttons opens beside it, and until you click the button again or press Esc, a click in the view measures with the protractor. Like the tape measure, it snaps to the corners and edges of bodies; beside the bodies it sets a point on the plate.

• “วัดมุมจากสามจุด”: click the corner of the angle first, then a point on each side. While you place the last point, the angle shows already; after the third click it stays, with an arc between the sides. It is the angle at the corner, from 0° to 180°. Seen straight from the top, the front or a side, it measures the angle as it shows there: a top corner and the bottom corner right below it are the same spot. In a tilted view it is the angle in space.
• “วัดมุมระหว่างสองหน้า”: click two flat faces. A short blue line on each shows which way it faces, and the label gives both angles the faces make, the smaller first: a 45° chamfer against the top reads 45° · 135°, two sides of a box just 90°. A curved face has no single direction, so the protractor asks for a flat one.

The next click after a finished angle starts a new one, and “ลบมุมที่วัด” removes it. The angle follows the bodies when they move or turn. Nothing of it is saved or goes into the history: it is gone when you put the protractor away.

Distances to the origin and while moving

In the settings under “หน้าตา” there are two switches for live dimensions:

• “แสดงขนาดระยะเคลื่อนย้าย” shows by how much you move while dragging. That includes lifting with the blue arrow above a body; the way up or down shows at its front corner. The arrow keys show their way as well: the presses add up until you select something else or drag, and Ctrl+↑ and Ctrl+↓ show the way up or down. Once you let go, click such a number and type the exact distance; a minus goes down.
• “แสดงระยะจากจุดกำเนิด” shows the distances of the selection to the origin of the plate, also with several selected bodies.

With “แสดงขนาดตลอดเวลา” the dimensions stay visible permanently. A body that does not stand on the workplane also shows its height above it; click the number to type a new one. With “กล่องขนาดเป็นสีตามแกน” each box takes the colour of its axis, as the handles do: red for X, green for Y and blue for Z. So on a small part you see at a glance which number is which.

For a moment without them, press Q: the sizes and distances around the selection disappear, so a part you move is easy to see. Q again brings them back. A handle you point at still shows its size.

Checking clearance

Parts that should move after printing - a flexi dragon, a hinge printed in place, a box and its lid, an axle in its bore - need a gap between them. Too little, and they stick together; overlapping, they print as one piece. “ตรวจระยะเผื่อ”, next to “เชื่อมสเก็ตช์เป็นชิ้น”, checks that before you print. It takes the selected objects, or every visible object when nothing is selected (the same ones an export takes), and checks each pair:

• “ซ้อนกัน” (red): the two share a volume. It shows red inside the bodies, which turn see-through, and the list says how large it is.
• “ชนกัน” (red): they touch and fuse when printed.
• “ชิดเกินไป” (orange): the narrowest gap is smaller than “ช่องว่างขั้นต่ำ”.
• “ปกติ” (green): the narrowest gap is at least that wide.

Each row names the two parts and, for a gap, its width and where it lies: “ด้านข้าง” (within one layer) or “ระหว่างชั้น” (above or below: there the slicer can only leave whole layers free, so a gap thinner than one layer closes). Click a row: the camera goes there, both parts are outlined, and a line with the number marks the narrowest place. Pairs further apart than 5 mm are not listed. Nothing in the design changes: the check saves nothing and leaves nothing to undo.

“ช่องว่างขั้นต่ำ” starts at 0.3 mm; 0.3 is tight, 0.4 usual for a print in place. Changing it sorts the list again at once, without a new check, and the browser keeps the value. “ตรวจชิ้นส่วนที่แยกกันในวัตถุเดียว (พิมพ์ประกอบในตัว)” (on to start) checks the separate parts of one object against each other too: a flexi dragon or a hinge imported as one STL is one object, but its links are separate parts. They are listed as "Name · Part 2". A part inside a cavity of another, a ball in a cage, is a part of its own.

If you change the design while the panel is open, it shows “มีการเปลี่ยนแปลง – ตรวจอีกครั้ง”; click that or “ตรวจอีกครั้ง”. Esc or “ปิด” closes the panel. Scaling changes the gaps too: a flexi model scaled to 70 % keeps 70 % of its gaps, so check again after scaling.

The check measures the triangle mesh the slicer gets. A round axle and its bore are polygons with their corners on the circle, so a gap can come out a few hundredths smaller than the round numbers. A pair with too many triangles is listed as “ยังไม่ได้ตรวจ”. An AI runs the same check with layerling_check_clearance.

Notes

A note records what the geometry does not say: "This screw is 0.3 mm too tight", "print the lid yet", "dimension from Peter". Place one with “โน้ต” or the N key.

• If you place the note on a body, it travels with it.
• If you place it beside, it stays on the workplane (“บนพื้นงาน”).
• “ปลดออกจากวัตถุ” releases an attached note from the body.
• “สำหรับ AI” turns a note into a request for an AI agent on the MCP bridge (see "AI with MCP"): the agent reads it with layerling_list_notes, does the work and answers in the same note, under your text. It can also put notes of its own on the model, to ask or report something at a spot. Ask the agent to watch your notes, and it waits for them with layerling_wait_for_notes: you then only work on the model, and every new request is picked up as soon as you tick the box, without going back to the agent's window.
• “รวมกลุ่ม” takes an attached note into the group; “แยกกลุ่ม” hands it to the visible part under it, a group inside included. While a group is open with “แก้ไขกลุ่ม”, its notes move with the part under them and go back to the group with “เสร็จ”; cancelling puts them back as they were.
• If its body is deleted, or no visible body is under it any more, the note stays where it stood, on the workplane.
• Dragging the pin moves the note. A click on the pin folds the card away, only the small number stays; another click opens it again. A click into the text edits it.
• While you write, Enter keeps the text and Esc puts it back to how it was before you started; Shift+Enter starts a new line.
• In a sketch, “โน้ต” or N places a note too, anywhere on the sketch. All of a sketch's notes belong to its body: in the 3D view they sit on it, on the top of an extruded or swept body and on the drawn profile of a revolved one, and move with it. When you open the sketch again it shows the body's notes, including those placed in 3D. In the sketch, Undo takes back a note like a line, and “ยกเลิก” discards what you changed in the notes. Shift+N shows or hides the notes here too.

Notes are saved in the design, appear in no export and can be shown or hidden with “แสดงโน้ตและจุด” (in “ตัวเลือกการแสดงผล”, the arrow beside the eye icon) or with Shift+N.

Reference points

A reference point is a bare mark in space, like a pencil mark or a layout point in a workshop: it belongs to no body, is never printed, and other things snap to it. Right-click a body and choose “ทำเครื่องหมายจุดศูนย์กลาง”, “ทำเครื่องหมายที่มุม” or “ทำเครื่องหมายที่กึ่งกลางขอบ”: the points appear on the top face of the body (of the whole selection, if you selected several). “ทำเครื่องหมายจุดศูนย์กลางของหน้านี้” puts one in the middle of the flat face you right-clicked instead, on a side or an end, say. With a pivot set, “ทำเครื่องหมายจุดหมุน” puts one exactly on it, so another part's centre snaps to the point the selection turns about.

• Drag a point to move it: it snaps to the corners, the middles of the edges and faces of bodies, to their real corners and to other points; hold Alt to let it go free. Or click it to see its coordinates and type new ones; they use the unit you set. Each card can be dragged away by its title if it covers something, on its own: the others stay where they are, and a double-click on the title puts it back. The card you touched last stands in front of the others. Delete all in a card, or Delete all reference points in the right-click menu (of a body, or of an empty spot of the 3D view), deletes every point at once. “ลบ” removes it.
• The tape measure can mark a point too: “ทำเครื่องหมายจุดกึ่งกลางเป็นจุดอ้างอิง”, the half-filled mark in the middle of a measurement, puts one in its middle, in the centre of a round hole for example. And it measures from a point: the tape snaps to reference points like to corners.
• When you drag a shape, its edges and its centre snap to a point, like they snap to other shapes (“จับติดรูปทรงอื่นขณะย้ายและปรับขนาด”). The framing square snaps to points too.
• Points are saved in the design, appear in no export, and are shown or hidden together with the notes by “แสดงโน้ตและจุด” (Shift+N).
• An AI can mark, list and remove them with layerling_add_reference_points, layerling_list_reference_points and layerling_remove_reference_points.

Reference images

A reference image is a picture to line parts up on: lay a photo of a circuit board on the floor of its case, and place the standoffs, holes and connector cut-outs right on it. It is a guide, not a body: it is never printed, never exported (STL, 3MF, OBJ, STEP, SVG), never part of a group, a bundle or a cut, and the print estimate leaves it out.

• Open “นำเข้า” and choose “รูปอ้างอิง”, then a PNG, JPG, WebP, GIF or BMP picture. It lands on the workplane - on the plate, or on the face you set the workplane on - with its longer side 100 mm, half see-through.
• Move, turn and resize it with its handles like any shape. A body in front of it is picked first, so working on top of it does not grab the picture.
• “ความโปร่งใส (%)” in its settings fades it from solid to barely there.
• “ปรับเทียบ” gives it its true size, as in the sketch: click two points on the picture whose real distance you know - two mounting holes of the board, say - and type that distance in “ระยะจริง (mm)”. The picture keeps its proportions and its middle.
• Lock it with the lock in the header of its settings, and it stays put: clicks then go through it to the plate. Pick it in the object list to unlock it.
• The picture is saved once in the design file, however often it is copied or undone. A large picture makes the file larger by as much; the message when you add it says how large it is.
• An AI adds, moves, calibrates, fades and locks one with layerling_reference_image. With trace it traces the picture into a sketch body standing on it, as the sketch's “ลอกลาย” does.

11. Preparing for 3D printing

Choosing your own printer, being warned when something does not fit, and laying the part the right way.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Choosing your printer

Open the settings (the cogwheel in the title row, “ตั้งค่าพื้นที่ทำงาน”) and switch to the area “พื้นงาน”. Under “เครื่องพิมพ์” you pick your printer from a list of over 230 common models, including Bambu Lab, Prusa, Creality, Anycubic, Elegoo and many more.

Three things happen:

• The workplane takes the size of the print bed.
• In the corner of the workplane appear the printer's name and its build volume. If the writing gets in the way, switch it off with “ป้ายชื่อบนฐาน” under “พื้นงาน”; that also goes for the design's name at the front left.
• layerling warns when something does not fit.

Most printer profiles come from OrcaSlicer. If you would rather work without a printer, choose “ไม่ระบุเครื่องพิมพ์ - ขนาดอิสระ”. You can also set the size of the workplane by hand.

Delta printers such as those by FLSun or SeeMeCNC, or the Anycubic Predator, print on a round plate. With one of them the workplane is round too, as wide as the plate, and a body is too large as soon as it reaches past the rim. A round body is measured by its own outline, not by the box round it, so a cylinder nearly as wide as the plate still fits.

When something does not fit

A body that sticks out over the edge of the print plate is marked. A message tells you which sides overhang and by how much. It is the same if the part is too tall: the height counts from the lowest body, just as the slicer sets the model down.

The warning does not stop you from working on. It is a hint so you do not find out only in the slicer that the part is too big. A part that is too big can often be split: cut it in two with “ผ่าชิ้น” and print both halves separately.

If you park parts beside the plate on purpose, click the small cross in the message. The warning is then gone for exactly these bodies. Once one of them fits again and you move it out later, or another body sticks out, the message comes back. Hidden bodies never count, so hiding the parked parts works as well.

Laying the part right

How a part lies on the plate decides its strength and looks. Two tools in the “จัดวาง” area help:

• “วางราบตามหน้า”: click a face and the part lies with that side down. The best print direction in one click.
• “วางลงพื้นงาน” (D): sets the part on the workplane when it floats somewhere in the air.

A few rules of thumb for direction:

• Large flat faces down. They stick best.
• Lay long, loaded parts so the layers do not run perpendicular to the load. Layers are the weakest direction.
• Avoid overhangs steeper than 45°, or give them supports in the slicer.

Finding overhangs

In the menu next to the eye (“การแสดงผล”), Show overhangs switches the overhangs on. Every face that points down more steeply than 45° is then hatched red and white - that is where the printer would need supports. What rests on the plate stays clear. So you see while designing whether a sphere, an arch or a horizontal hole prints without supports; the teardrop hole is made for exactly that. Turn the part or lay it on another face with “วางราบตามหน้า”, and the hatching follows at once.

How steep your printer manages is set in the settings under “หน้าตา”: from 30° (careful) to 70° (for printers with good part cooling). A face resting on another body is still marked - layerling only looks at the face itself.

Support ribs for a tilted part

A part printed tilted on one edge, at 45° say, often needs no supports: its faces are steep enough. But it stands on a thin edge and can fall over. The “ครีบรองรับ” holds it: a thin rib stands under its lower face a small gap away, on an oval foot, and tiny bridges hold the part to it. Turn the part onto its edge first and let it stand on the plate.

1. Select the part and click “ครีบรองรับ” in the “ผ่าชิ้นและปรับรูปทรง” group of the ribbon, right-click the part, or find it with Ctrl+K.
2. Click the lower face where the rib should stand. The face must look down, slope between 15° and 75° and reach down to the plate; the rib stands straight down the face from your click. If the part's bottom edge is rounded or chamfered, the face may stop up to 3 mm above the plate: click the flat face above the rounding.
3. Set “หัวฉีด”, “ความสูงชั้น” and “ชั้นแรก” as in your slicer. The rib is two lines of the nozzle thick, the gap to the part half a line; each bridge is one line wide and exactly one layer high and lies on a layer of the print, so the slicer prints it as one thin line that breaks off cleanly. “ความสูงครีบ” is how high the rib reaches up the face (half way to start), “สะพานทุกๆ” how far apart the bridges are, in whole layers.
4. Under “ตั้งค่าเพิ่มเติม” the thickness, the gap, the bridges' width and the foot's thickness can be set by hand (until then they follow the nozzle and the layers), as can the foot's width and the roundings where the rib meets the foot and at its top. With “ระยะห่างที่ปลายสะพาน” above 0 the bridges no longer reach into the part but stop that far before it, measured in the layer: the slicer then prints each as a path of its own, which holds the part by the squash of its line and comes off without a mark (half a line, 0.2 mm for a 0.4 mm nozzle, is a good start). Make “ระยะห่างจากชิ้นส่วน” wider with it, so the bridges still cross part of it.
5. “สร้าง” adds the rib. With “มัดรวมกับชิ้นส่วน” (on to start) rib and part are bundled: they move together and go to the slicer as two bodies side by side, joined by the bridges in the print.

The rib is a mesh body: to change it, delete it and make it again. Each click makes one rib; for more, click “เลือกหน้าอื่น” or repeat it with “เรียงซ้ำ”. The rib must not run into the part anywhere, and the part must stand on the plate - otherwise the window says why. Your settings are kept in this browser for the next rib.

“ตรวจระยะเผื่อ” and “ตรวจก่อนพิมพ์” know the rib: that its bridges reach into the part, and that the rib and its bridges are thin and lie one layer high across the gap, is meant to be so and is not reported. A rib made with layerling 1.148.0 does not carry this mark yet; make it again and the checks leave it out.

Wall thickness, clearance and chamfers

• Walls should be at least two extrusion lines wide, so 0.8 mm with a 0.4 mm nozzle. Sturdy parts need 1.2 to 2 mm.
• Where two parts fit into each other you need clearance: usually 0.2 to 0.4 mm, depending on the printer. Make a small test pair before you print the big part.
• Many people lightly chamfer the lower edge that sits on the plate. That keeps the first layer from spreading ("elephant foot").

Your printer's play: the fit test

Every printer prints holes a little smaller and pins a little thicker than they are drawn, each by its own amount, so the clearance two printed parts need is a guess at first. Measure it once instead. In the settings under “พื้นงาน”, “สร้างชิ้นทดสอบความพอดี” puts a fit test on the plate: a 60 × 20 × 4 mm plate with seven holes for one 5 mm pin, each drawn 5 mm plus twice 0.05, 0.10, 0.15, 0.20, 0.25, 0.30 or 0.40 mm, the value raised beside it, and the 5 mm pin itself, standing beside the plate with a small chamfer on top. It is made of ordinary shapes, so it prints with the rest of the plate, without supports.

On a printer whose bed moves back and forth, the tall, thin pin can wobble loose or come out wavy at its foot, brim or not. Tick “หมุดทดสอบบนฐานแบบหักออก” before you make the fit test: the pin then stands on a small 10 mm plate that holds on to the bed. It does not touch the plate's socket but rests on a small nub in its floor; once printed, bend the pin to and fro and it snaps off.

Print it as it lies, then push the pin, chamfered end first, into the holes from the tightest on. The snuggest hole the pin still turns in gives your printer's play. Type its number under “ระยะเผื่อของเครื่องพิมพ์”, or click it among the values below the field. The play is per side, in millimetres, and the browser keeps it for every design; an empty field means not measured. With several printers, choose the one you print on under “เครื่องพิมพ์” first: each printer keeps a play of its own, and new uses start from the play of the printer the design is set to. A printer without one uses the play set while no printer was chosen.

From then on, new uses start from the play instead of the built-in value: “ช่องว่างต่อด้าน” and “ระยะหลวมแกนพิน (ต่อด้าน)” in the “ฝา” tool, the clearance of a new “ข้อต่อหางเหยี่ยว” and “ตัวล็อกสแนป”, “ระยะเผื่อ (XY)” of a new nut or tapped hole - twice the play, as that is the room across the whole diameter - and “ช่องว่างขั้นต่ำ” in “ตรวจระยะเผื่อ”. The same goes for “ระยะเผื่อต่อด้าน” of the dowels, plugs and dovetails in “ผ่าชิ้น”. While such a field still holds that value, "“จากชิ้นทดสอบความพอดีของคุณ”" beside it says where the number comes from. A hinge printed in place and the joints of the “ข้อต่อขยับได้” tool keep their 0.4 mm: printed in one piece, their gaps also have to stay open between the layers, which a pin printed apart does not measure. Room for pressing in a magnet or a Gridfinity key, and room for a bought socket or board, keep their own values too. Bodies already in a design never change, nor does a design you open.

Checking the print

“ตรวจก่อนพิมพ์”, next to “ตรวจระยะเผื่อ” in “รวมชิ้น”, looks at the selected objects, or at every visible object when nothing is selected, and says in one window what would go wrong when printing. Each of its five lines is green when it found nothing, and orange with what and where when it did:

• “ผนังบาง”: places thinner than two lines of the nozzle - 0.8 mm with a 0.4 mm nozzle. The slicer leaves such a wall out or prints it as one weak line. Choose your nozzle under “หัวฉีด” at the top of the window (0.2 to 0.8 with one click, any other in the field). The thin places are painted red with a light grid on the bodies, and the line names the thinnest place and how much surface is too thin. Places smaller than 1 mm² and sharp edges, such as the edge of a wedge, are left out.
• “ชิ้นส่วนลอย”: a body, or a separate part of one, that touches neither the plate nor another part (within 0.05 mm). It would be printed in the air. A part resting on a part that stands is fine.
• “สัมผัสฐานน้อย”: a part on the plate whose first layer is very small for its height, such as a sphere or a cone on its tip. It can come loose while it prints. The check warns below 0.5 mm² of footprint, measured 0.1 mm above the plate, for each millimetre of height: a sphere is always below that, a cube of 10 mm has 10.
• “ส่วนยื่น”: the same figures as Show overhangs, at the angle set there.
• “เมชไม่ปิด”: an imported mesh with open edges, or edges that three or more faces share. The slicer has to guess where such a mesh is inside.

“แสดง” on a line takes the camera there; it selects the floating parts, those standing on too little and the open meshes, and for the overhangs it switches Show overhangs on. Bodies that overlap are checked joined, as the slicer joins them. If you change the design while the window is open, it shows “มีการเปลี่ยนแปลง – ตรวจอีกครั้ง”; click that or “ตรวจอีกครั้ง”. Esc closes the window. Nothing in the design changes. An AI runs the same check with layerling_check_print.

When you are ready

Choose “ส่งออก” and then STL or 3MF. STL is the simplest format. 3MF keeps names and colours of the individual bodies and is therefore handy when you print in several colours. The export window also shows how many grams and metres of filament the part would take printed solid. More in Files and saving.

12. Files, saving and sharing

Where your designs live, how to back them up, which formats layerling imports and exports, and what is possible on a shared server.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Where your designs live

layerling saves everything in the browser on your computer. There is no account and nothing is uploaded. (With a copy you host yourself, designs can live in a shared folder on the server instead; see the section on the shared folder further down.) Every change saves itself. The preview picture on the start page shows the view you last had in front of you when you went back with “หน้ารวมงาน”. If you open layerling in the same browser days later, everything is there.

If you go back to the start page from a design with nothing in it, layerling asks whether to keep it. “ใช่” or Enter keeps it, “ไม่” removes it, so empty designs do not pile up. For a design in a shared folder on a server, “ไม่” deletes the file from the server, for everyone who uses it.

That has a downside: whoever clears the browser storage or switches to another computer loses the designs. So back up important work into a file.

Your designs, your backup

Your designs live in this browser on your computer. As with all data, only what exists a second time in another place is safe: a failing drive, a new PC, cleared browser data or a bug, and without a backup the work is gone. Keeping that backup is up to you; no software can do it for you. layerling makes it easy: “สำรองข้อมูลทั้งหมด” on the start page puts every design into one file in a single click (see below). Keep that file on a USB stick, in a cloud folder or on a NAS, after every bigger session.

layerling reminds you. The line above the designs of this browser grows louder the longer the last “สำรองข้อมูลทั้งหมด” lies back: with the button “สำรองข้อมูลตอนนี้” once it is older than the days set under “เตือนให้สำรองข้อมูล” (7 to begin with) and designs changed since, and in red when there are more than three designs and no backup at all, or none for 30 days. The editor reminds you once a day in the status line, with the same button. The automatic backups below do not count here: they are on the same computer.

Earlier versions

layerling also keeps two kinds of backup by itself:

• Before saving over a file. When Ctrl+S or “บันทึกงานออกแบบ Maaprint CAD” writes into a .lyl file that is already there (Chrome and Edge, see below), the file as it was is kept first. A file that has not changed since its last backup is not kept twice.
• States while working. While you work on a design, a state of it is kept every 10 minutes, but only when something changed; the last six of each design stay.

“เวอร์ชันก่อนหน้า” lists them: in the editor in the export window under LYL and in the command search, on the start page beside “กู้คืนข้อมูลสำรอง” for every design, and in the menu of a design for that one. Each shows its picture, time, kind, name and size. “เปิด” opens the version as a new design: the design you have open stays as it is, and the new one is not tied to the original file, so saving it never writes over that file. The download button saves the version as a .lyl file, the bin deletes it.

In the settings (the cogwheel in the ribbon), the page “สำรองข้อมูล” sets how many earlier versions of a file are kept (none up to 20, 5 to begin with), how often a state is kept (never, every 10 or every 30 minutes) and when the reminders start. These settings belong to this browser, not to a design. All backups together take at most 500 MB; above that the oldest states go first.

Backup folder (Chrome and Edge). Under “โฟลเดอร์สำรองข้อมูลบนคอมพิวเตอร์นี้” you can choose a folder on your computer. Each backup then also goes there as a .lyl file named after the design and the time, for example Bracket 2026-11-11 20-31-05.lyl, a state with auto before the ending. Old ones go there as they do in the browser; nothing else in the folder is touched. After a reload the browser asks once more for permission the first time you save; a state kept before that stays in the browser, and the message offers “อนุญาตโฟลเดอร์”. A folder that syncs with the cloud or lies on another drive is a second place too.

The backups in the browser go when the browser's data is cleared. That is why they do not replace “สำรองข้อมูลทั้งหมด”.

Folders for your designs

With dozens of designs a single list is not enough. On the start page, “โฟลเดอร์ใหม่” makes a folder for the designs of this browser; a click on the folder opens it. Folders can hold folders.

• Into a folder: drag a design onto the folder, or choose “ย้ายไปที่ …” in the design's menu, which lists every folder. A new design, and a file you open or import, made while a folder is open lands in that folder.
• Out again: the first tile in a folder, .., and the line under the tabs lead back; you can drop a design on them too. A folder dragged onto another folder goes inside it.
• Rename and delete are in the folder's menu. Deleting a folder deletes no design: what was in it moves one level up.
• Search looks through every folder; a design that is found shows its folder, and a click on it opens the folder.

“สำรองข้อมูลทั้งหมด” keeps the folders: the designs sit in the backup file in their folders, and restoring the backup puts them back there. The folders of this browser are separate from the folders on a server. The card pictures go into the file too, so they are back as soon as you restore.

Backing up and passing on

On the start page every design has a menu with the options to rename, duplicate and delete. The row beside the tabs has the same buttons on every tab. To delete several designs at once, click “เลือก”: a click on a card chooses it (a tick shows what is chosen), “เลือกทั้งหมด” chooses every design in the list, and “ลบ” asks once for all of them. “เสร็จ” or Esc leaves the selection. With “สำรองข้อมูลทั้งหมด” you pack all designs of the open tab into one single ZIP file. “กู้คืนข้อมูลสำรอง”, beside it (it is there on a new computer with no designs, too), brings them back, also in another browser or on another computer; “เปิดงานออกแบบหรือนำเข้าโมเดล” takes the same file. The “รูปทรงของฉัน” travel in the same file, in the folder Custom shapes, see Shapes. If you restore a backup into a browser that already has some of these designs, those are not added a second time; the notice says how many were already there. A design that cannot be read is left out, and the notice names it. If the page reloads in the middle of a backup, usually because a very large design took all the memory the browser allows, the start page says afterwards at which design it stopped: save that one on its own as a file (see below) or simplify its largest meshes, then back up again. Above the designs of this browser, a short line says where they stand: in orange while they are in no backup yet, or when some were added or changed since the last “สำรองข้อมูลทั้งหมด” (it says when that was and how many), and in grey once all of them are in it. Only a backup of all designs counts, not one of a folder or of chosen designs.

Only some designs: after “เลือก”, “สำรองข้อมูล” packs just the chosen designs, in their folders, into one ZIP file, and “สำรองข้อมูล” in a folder's menu packs that folder with every design and folder in it. Neither takes the custom shapes along, and “กู้คืนข้อมูลสำรอง” brings both back like a full backup. This is for the designs of this browser.

Where a backup goes: in Chrome and Edge a save dialog asks for the folder and the name, and it remembers the folder for the next backup. That way your backups go straight into a folder of your own, on a cloud drive for example. The same goes for “สำรองข้อมูลรูปทรงของฉัน”. Other browsers put the file into their download folder; which folder that is, you set in the browser's settings.

If a design opens very slowly or not at all, usually because its history of undo steps has grown very large, choose “เปิดโดยไม่มีประวัติ” in its menu on the start page. layerling then reads only the current state, deletes every earlier step for good and opens the design; after a question, because this cannot be undone. To keep the steps, back the design up with “สำรองข้อมูล” first.

You back up a single design in the editor: “ส่งออก”, choose the format LYL and click “บันทึกงานออกแบบ Maaprint CAD”. The LYL file is layerling's own design format and contains everything: shapes, groups, sketches, CAD data, imported sources and the history, meaning the undo steps. Under “ประวัติการทำงานที่บันทึก” you choose how many of the last steps travel along; it starts at what the settings (the cogwheel in the ribbon) keep under “ประวัติ”. The last stop, “ไม่มี”, saves the design with its current state only - the way to share a file without its undo steps. The export is a copy under the “ชื่อไฟล์” you give it; the design in your browser keeps its history. Older .skf files from earlier versions can still be opened; they are then saved as .lyl.

Saving into your own folder (Chrome and Edge). There the button opens your system's save dialog, so you pick the folder and the name yourself, and an existing file can be replaced. Afterwards Ctrl+S saves the design into that same file again, without a dialog. A design opened from a .lyl file with “เปิดงานออกแบบหรือนำเข้าโมเดล” or the open button of the export window saves back into that file, too. The browser may ask once for permission to change the file. After the page is reloaded the design forgets its file, and the next Ctrl+S asks for it again; the dialog starts in the folder you used last. Firefox and Safari do not allow a page to write into files like this. There the file is downloaded to the Downloads folder as before, and Ctrl+S downloads it again; Firefox can be set to ask for the folder each time under Settings, General, Downloads. If you give the file a different name there, the design keeps its own name, since a version or a date in the file name is often meant that way; the message after saving then offers “ตั้งชื่องานออกแบบตามนี้ด้วย”.

When the save dialog saves nothing. If the dialog closes without a file, the message at the top says so and offers “ดาวน์โหลดแทน”: the design then goes to the Downloads folder like in Firefox. The browser reports a dialog closed with Cancel the same way as one it could not use, so on a PC where the save dialog fails for every folder this is the way to keep saving.

An STL export whose dialog hands back no file gets the same message and button. To leave the save dialog out altogether, switch on “บันทึกงานออกแบบแบบดาวน์โหลด” in the settings under “หน้าตา”: “บันทึกงานออกแบบ Maaprint CAD” and Ctrl+S then always save the design as a download, and “บันทึก STL แบบดาวน์โหลด” does the same for STL.

Attachments

Instructions, a parts list, notes, a photo or a datasheet can stay with the design as files. “ไฟล์แนบ” in the “ไฟล์” group of the ribbon, the paperclip, opens the list; a small dot on the paperclip shows that the design has some.

• “อัปโหลดไฟล์แนบ”: Choose one or more files: .md (Markdown) or .txt as plain text (UTF-8), .png, .jpg, .jpeg or .webp pictures, or .pdf documents. A file is checked by its content, so a file that is not what its name says is refused, and other types, .svg among them, cannot be attached. A text file can be at most 2 MB, a picture 16 MB and a PDF 32 MB; a design holds up to 32 files and 64 MB together.
• The list: The arrow downloads a file as it was uploaded. The bin removes it; the row asks once more first, and a removed file cannot be brought back with undo, because attachments are not part of the undo history.
• Reading a file: The eye on the row of a .md or .txt file opens it in a window to read, without downloading it. Markdown is shown formatted, with headings, lists, tick boxes, tables and code; a text file is shown exactly as it is written. Only links to web pages and e-mail addresses work, and they open in a new tab. Pictures named in the file are not loaded: their description stands in their place. Escape, the cross or a click beside the window closes it. Reading works in the History view too.
• Looking at a picture: The eye on the row of a picture opens it in the same window, shrunk to fit when it is large. A PDF has no eye: download it and open it in the program you read PDF files with.
• A name that is already there: layerling asks what to do. “แทนที่” puts the new content into the file of that name, which keeps its place in the list. “เปลี่ยนชื่อ” adds the new file under another name and suggests the first free one, such as notes 2.md. The cross leaves the new file out. Upper and lower case count the same, and the same file uploaded again changes nothing.

Attachments are saved with the design like everything else: in the browser, in a LYL file, in a backup and in a design on a server, which they reach as soon as one is added or removed. They do not come along with “แทรกลงในงานออกแบบนี้” or with a custom shape, and a bug report does not contain them. A design with attachments is saved as a newer kind of LYL file: an older layerling says that it cannot open it instead of dropping the files. A design without attachments is saved exactly as before.

Exporting

Click “ส่งออก” or press Ctrl+E.

If the window covers something, drag it by its title bar to another spot; the Import and Attachments windows move the same way. A double click on the title bar puts it back.

At the top is the file name, below it you choose the format. With something selected, only the selection is exported, otherwise the whole design. If the selection leaves out visible parts, a note in the window says so plainly, and “เลือกทั้งหมด” selects everything visible in one click. Once the file is written, the window closes by itself; if the export fails, it stays open with the message.

Bridges for parts that would fall out (DXF and SVG). When a plate with text is cut by a laser or a plotter, the middle of letters like o, a and b falls out. Tick “สะพานยึดชิ้นที่จะหลุดออก” in the export window of the DXF, or of the SVG with the top view, and small bridges hold such parts to the material round them, as on a stencil: “ความกว้างสะพาน” (0.5 to 3 mm) and “จำนวนสะพานต่อชิ้น” (1 to 4) are set beside it. A bridge never touches another outline or another bridge and never leaves a gap too narrow to cut; parts that would only hold each other are tied to the plate too. If a part gets no bridge at the chosen width, the message after the export says how many. Nothing changes unless the box is ticked.

STL into your own folder (Chrome and Edge). There the first STL export of a design opens your system's save dialog, so you pick the folder and the name yourself and can replace an existing file. After that every STL export of the design writes into that same file without a dialog; the export window shows which file, and Save as… next to the export button picks another. The dialog remembers its own folder, apart from the one for designs, so the slicer files can stay with the slicer. After the page is reloaded the design forgets its STL file and the next export asks again. Firefox and Safari download the file as before. If you would rather have every STL as a plain download, so that the browser numbers a name it has already used (name (1).stl, name (2).stl) as Tinkercad does, switch on “บันทึก STL แบบดาวน์โหลด” in the settings under “หน้าตา”.

A hole you have not grouped is taken out of every body it reaches when you export, as the view shows it. So there is no need to group before each export. With a selection, only the selected holes count. A hole cannot be exported on its own; layerling points that out.

STEP only carries exact CAD bodies. An imported mesh is made exact for the file, as “แปลงเป็นแบบแม่นยำ” does (see "Making an imported mesh exact" below), which can make the export take up to a minute; a mesh that is mostly free-form, such as a figure, is left out, as is anything else that cannot be written exactly. The message after the export names those bodies and says why. For the printer, use STL or 3MF, which carry everything.

SVG for a laser or plotter

With “ขอบที่มองเห็นจากด้านบน” under “มุมมอง”, the SVG shows the design as you see it from above, like the top view of a drawing: every edge you can see is a line, and edges hidden by other parts are left out. Each line has the colour of its body, so a laser or plotter program that sorts by colour puts each colour on a layer of its own. Whether a layer is cut, scored or engraved, you choose there.

Every area a colour shows has a closed outline, and where two bodies meet, both get the line. The areas are filled even-odd, so filling a colour to engrave it leaves its holes and the places of other bodies free. A part reaching through another gets the line where it comes out. The SVG is at 1:1 in millimetres, with the front of the design at the bottom of the page, in the same place as the silhouette. A design with too many edges for this view, such as a plate with hundreds of holes, gets its filled silhouette instead, and the message after the export says so.

A drawing for the workshop

Choose the format 2D (hover over it and it says Drawing) and, below the file name, PDF or SVG. With something selected, only the selection is drawn, otherwise the whole visible design; holes you have not grouped still cut the parts they reach.

layerling draws the front, top and right-side views in first-angle layout (the right side to the left of the front view, the top view below it) on the smallest ISO sheet that fits, from A4 to A0, or a larger one if the part needs it. It is always at 1:1. Each view carries its overall width and height, and edges you cannot see are dashed. Round bores that run parallel to a view direction get a centre cross and a label (F1, T1, R1), and a table at the bottom lists their diameter and position, measured from the lower-left corner of the view. The title block in the lower-right corner holds the name, scale, units, date and sheet number. The words on the sheet follow the interface language.

Print at 100 % or "actual size", or the lengths will not match. What the drawing does not do: threads, depths, tolerances and bores at an angle are not dimensioned, and the sizes come from the model as a mesh, so they are nominal. A very detailed part (over 100,000 triangles) or more than 200 bores is refused with a message; choose fewer objects then.

The projection is based on the drawing work of Cadverix-3D by WC3D.

How much filament does it take?

For STL, 3MF, OBJ and STEP the “วัสดุ” box shows the volume, weight and length of 1.75 mm filament of what is exported. It counts like the file: visible bodies only, holes taken off, overlaps only once. On the right you pick the filament - PLA, PETG, ABS, ASA, TPU or PA (nylon) - and the weight follows its density. The volume is the body's own. Weight and filament are a rough estimate for a print with walls and infill: you set the “ไส้ใน (Infill)” (15 % to begin with) and the “ผนัง” (2) under the heading, and the box says what it counted and what the same part would weigh solid. Your slicer's own settings decide the real number, so take it as a guide: good for comparing designs and for whether the spool will last. At 100 % infill the box counts the part as solid, the upper bound. The box works out its numbers when you press “คำนวณ”, so the export window opens at once even for a finely traced model.

Importing

With “นำเข้า” or Ctrl+I you bring foreign files into the design.

• “เปิดงานออกแบบ Maaprint CAD”: A layerling design (.lyl, or an older .skf) comes back as a new design.
• “แทรกลงในงานออกแบบนี้”: The bodies of a layerling design are added to the open one. Handy for basic shapes you need again and again: build them once, save them and bring them in every time. Drop one or more .lyl files on the drop zone below and they are inserted the same way. Its notes come along, closed and numbered on after the ones already in the design, and so do its reference points.
• “แทรกจากเซิร์ฟเวอร์”: The same for a design kept on the server (shown when there is a server store). Pick the folder and click the design; its bodies are added to the open one.
• DXF: A DXF, as a laser cutting shop or a supplier sends a part outline, comes in as parts to work on: every closed outline a body 4 mm high and every hole in it a hole of its own beside it (a round one a cylinder), so a hole is moved and sized in the 3D editor like any other; select them all to move the part. In millimetres (a file in inches is converted, one without a unit is read as millimetres), arcs and circles kept as true arcs. Lines, arcs, circles, ellipses, polylines, splines and blocks are read; text, dimensions and hatches are left out, and outlines that do not close too - the message says how many. Set the thickness in the properties.
• Add geometry: Drop STL, OBJ, 3MF, STEP, SVG, PNG or JPG files in the window or click to choose a file. Imported meshes can be turned, moved, cut with holes and built upon. A STEP file with several solids, an assembly from another CAD program, comes in as one body each under the name the file gives it, in its place to the others and in the colour the file gives it; several bodies under one entry of the file, the screws of a part say, become a part each. Its assemblies become bundles under their names, an assembly inside one a bundle inside the bundle; so a whole assembly hides or moves at once, and a double click opens it to work on a single part. An SVG comes in as a sketch body, one from a tracer such as picsvg.com or Inkscape's "Trace Bitmap" as well: its outlines become the lines and curves of a sketch, 4 mm high and reading from above as in the drawing. In the properties you set its “การเติม”, an area or a stroke outside, inside or centred, and “เงาโครงร่าง (ไม่มีรู)” leaves the holes out, see Sketches, "Fill and silhouette". You change the points themselves in sketch mode. If it should come in at a size of your own, type the width in the import window under SVG and picture: width in mm first, as in Tinkercad: the drawing is scaled to it, height and depth with it, and the field is empty again after that one import; left empty, an SVG comes in at its own size and a picture 50 mm wide. Only a very intricate SVG with more than 2500 lines and curves comes in as a fixed mesh. A PNG or JPG picture is traced into an outline and comes in the same way, as a sketch body 50 mm wide that you can resize afterwards: the part of the picture that is not its background, the background being the part that takes up more of the picture's edge. An SVG that holds nothing but one picture is traced the same way. A shape that cannot be built into a solid, such as an outline that crosses itself or touches itself at a point, is left out, and after the import layerling says how many there were. Then it helps to join overlapping pieces in the drawing program, close the outlines and save the file again. Drawings made on one page, such as the layers of one document exported as separate files, line up again when you switch on “SVG: คงตำแหน่งบนหน้ากระดาษ” in the import window before you import them: each keeps its place on the page, where otherwise each is centred on itself. An SVG drawn in several colours comes in as one body per colour as well, each in its colour and in its place; with more than 12 colours, as a traced picture has, it stays one body. A coloured OBJ or 3MF comes in as one body per colour, each in its place. In an OBJ the colours sit either in the file itself, as in an OBJ from layerling, or in an .mtl beside it. Select that one too, or import the whole ZIP the way Tinkercad hands out its OBJ. A 3MF carries its colours itself, and in a project from Bambu Studio, OrcaSlicer or PrusaSlicer each part takes the colour of its filament. A 3MF with several objects, such as a project with one object per plate, comes in as one body per object; modifiers, negative volumes and support blockers from the slicer are left out. Colour painted onto faces in the slicer is not read.
• From Tinkercad: An STL or OBJ export from Tinkercad comes in as geometry like any other mesh, and an OBJ keeps the colours. The real shapes come across with a free tool from the community: Export to layerling by taylormadearmy, a bookmark that converts a Tinkercad design in your browser into a .lyl file, which you open here with “เปิดงานออกแบบ Maaprint CAD”. It is not part of layerling and we have not tested it ourselves yet; its author tested it on Windows with Chrome.

A design saved with a newer layerling may hold things your version does not know yet, such as a new shape, a new setting or fonts of one's own. If layerling cannot open it for that reason, the message names both versions. If it opens, the notice says that newer things may look different here. Either way, reloading the page helps: layerling.com always serves the newest version. The installed app picks it up the next time it starts; on your own server you install the update.

Template pictures are added in sketch mode, see Sketches.

Simplifying an imported mesh

A scanned or sculpted mesh often has far more triangles than its shape needs, and every one of them is carried along while you move, cut and save. “ลดรายละเอียดเมช” in the Modify group (or in the right-click menu of the body) shows the mesh as it is next to what a chosen share of its triangles would leave of it; both views turn and zoom together with the mouse buttons of the workplane. Set how much to keep as a percentage or a number of triangles, and “ลดรายละเอียด” takes the lighter mesh. The result is a plain mesh: for the result of a cut or merge, “แก้ไขกลุ่ม” and its original parts are given up. With “คงขอบและรูไว้” switched on, as it is to begin with, sharp edges and the rims of holes stay exactly where they are while flat faces still lose most of their triangles; switched off, the simplifier may round them off to reach a lower count. If the simplifier stops above the number you asked for, the window says so and why: with “คงขอบและรูไว้” on, a body made of flat faces and sharp edges, such as boxes and wedges, often cannot lose more.

Cutting, merging and intersecting an imported mesh is calculated in your browser, so the workspace settings limit how many triangles such a mesh may have (“ตัดเมชที่นำเข้าได้ไม่เกิน”). A mesh above the limit is not processed, and the message names its triangle count; simplify the mesh first, or raise the limit if your computer can take it.

Making an imported mesh exact

An STL, OBJ or 3MF file holds only triangles, even when the part was drawn in CAD with flat faces and round bores. “แปลงเป็นแบบแม่นยำ” in the “พื้นผิว” group (or in the right-click menu of the body) looks through those triangles for the planes, cylinders, cones, spheres and tori they were made of and rebuilds the body from them as an exact CAD body: a bore becomes one real cylinder with a round rim instead of a hundred narrow strips. After that, “ลบมุมโค้ง” and “ลบมุมเฉียง” follow one clean edge, “ลบหน้า” takes away a whole rounding or the wall of a hole, and a STEP export carries the real faces. The status line says what was found, such as "planes: 9, cylinders: 4".

What fits none of these surfaces stays as small flat facets, and the message says how much of the surface that is. A body that is mostly free-form, such as a figure or a sculpted shape, stays a mesh, and so does a mesh with gaps or crossed walls, which cannot close into a solid. Up to 400,000 triangles are taken, and a large mesh can take a few minutes. A larger mesh goes below that with “ลดรายละเอียดเมช” and “คงขอบและรูไว้” switched on; otherwise take the mesh as it came, it comes out cleanest. One undo step brings the mesh back.

For a small mesh with round faces, up to 4,000 triangles, the edge tools do this by themselves: rounding an edge of such an STL rebuilds it the same way first.

Reporting a bug

If layerling does something unexpected, save a “รายงานบั๊ก”: the link sits in the footer at the bottom, next to the forum. It is a ZIP file, because GitHub and many forums refuse a bare .lyl: inside are your design as a .lyl and a short text file with the version, browser, screen size, the last messages and any errors. The start page opens the ZIP like a backup, or you unpack it and open the .lyl. Nothing personal is in it. Attach the file to your post in the forum or on GitHub, so the problem can be followed with exactly your design.

If layerling stops with an error, a window with the error message shows instead of a blank page. From it you can save the state of the design last stored in the browser as a .lyl file, go back to the overview, or start a new design. The error message from the window and the saved file help when you report it.

Shared designs on a server

When layerling runs on your own computer or web server, it can offer a shared folder in which all users keep designs. The start page then holds the designs in two tabs, “เซิร์ฟเวอร์” for the shared folder and one for this browser, each with the number of designs in it; the one with more designs comes first and is open. You create folders there, move designs by dragging and search across the whole folder. A design that lives there saves itself back to it. A design from this browser goes onto the server by dragging its card onto the “เซิร์ฟเวอร์” tab, or with “ย้ายไปไว้บนเซิร์ฟเวอร์” in the card's menu. A folder of this browser goes onto the server the same way, with everything in it, and designs that go onto the server keep their folders there, also with “ย้ายทั้งหมดไปไว้บนเซิร์ฟเวอร์”. The way back is “ย้ายมาไว้ในเบราว์เซอร์นี้” in the menu of a design on the server, or dragging its card onto the tab of this browser: the design then lives only in this browser and leaves the server folder, also for the others. While the “เซิร์ฟเวอร์” tab is open, “สร้างงานออกแบบ 3D ใหม่” and “กู้คืนข้อมูลสำรอง” put the design into the server folder you have open, and “สำรองข้อมูลทั้งหมด” packs every design of the server, in its folders, and its custom shapes into one ZIP file. The start page shows a design by its file name, so renaming a design, on its card or at the top of the editor, renames the file on the server too. Deleting a design or a folder removes it for good, together with its working copy in this browser. Custom shapes kept on the server sit in its folder Custom shapes, see Shapes.

Two things make that quicker: “ย้ายทั้งหมดไปไว้บนเซิร์ฟเวอร์” on the start page puts every design of this browser on the server in one go, and ticking “งานออกแบบใหม่ไว้บนเซิร์ฟเวอร์” makes every new design start in the server folder, so it is saved there from the first change on. With the tick, everything else that makes a design starts there too: opening or importing a file, “กู้คืนข้อมูลสำรอง” (with the backup's folders), duplicating and taking a state from the history, each into the server folder you had open; “โฟลเดอร์ใหม่” on the start page then makes a folder on the server. A design made in the first moments waits until the server has answered. When new designs must always start on the server and this browser holds none of its own, the start page shows only the server's designs. The tick is kept in this browser. A design that cannot go - its name is taken on the server, say - stays in the browser, and the message says how many.

The other export formats (STL, 3MF, OBJ, STEP, SVG, PNG and the drawing) can go into the same folder: in the export window, “บันทึกลงเซิร์ฟเวอร์” writes the file next to your design, or into the folder you have open on the start page for a design that is not on the server. A program that shares the folder, such as a slicer in Docker, can open it from there. The file does not appear in the list of designs. If a file of that name is already there, the message says so, and pressing the button again replaces it.

That is not simultaneous editing: whoever opens a file works on a copy of their own. If somebody else has changed the file in the meantime, layerling refuses to overwrite it.

On layerling.com this function is not switched on. How to set it up on your own server is described in the README on GitHub.

13. Keyboard shortcuts

All keys at a glance, taken straight from the program so the list is always right.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

The shortcuts work as long as the workplane has the focus. While you type in a field they keep out of the way. On the Mac, Cmd applies wherever Ctrl is listed here.

In the editor, “คีย์ลัด” in the “ช่วยเหลือ” area opens the same list as a window. The printer button in the window (“พิมพ์หรือบันทึกเป็น PDF”) prints the list on its own, black on white, the whole list on one side of an A4 or Letter sheet in three columns, to keep at hand as a quick reference; the print dialog of the browser also offers to save it as a PDF.

The box at the top of the window searches the list: it keeps only the shortcuts whose sentence, group or keys contain every word you type, so "fillet" or "ctrl+z" leaves just those rows. Capital letters and accents do not matter, and a single letter or digit finds that key and the words that start with it. The X at the end of the box empties it; with the box empty the whole list is back. The printer button prints what the window shows, so after a search it prints only the shortcuts found.

Command search

Can't find a tool? Press Ctrl+K or click the magnifying glass in the “ช่วยเหลือ” area, then type what you are looking for: a tool ("fillet", "mirror"), a shape ("cylinder") or a command ("export", "undo"). Move with the arrow keys and press Enter, or click the entry.

• The search understands the English and the German word alike and ignores capital letters and umlauts: "aushoehlen" finds “ทำกลวง”.
• Every entry shows the keys that do the same and the group of the ribbon it lives in, so you learn where it is.
• Entries that are greyed out cannot run right now, mostly because nothing is selected. They stay in the list so the search still tells you where the tool is.

The guide you are reading has a search box too, at the top of every page: type a word or two and it lists the sections that contain all of them, with the matching words marked. Click one, or press Enter for the first, to jump straight there. The page it opens marks every place your words appear and scrolls to the first one in that section; Esc or a click on a mark clears them.

• A shape's name adds that shape to the workplane, just like clicking it in the shapes menu.
• With an empty field the search lists the commands you used last at the top.
• The name of a body in your design finds that body and selects it, which helps in a design with many parts. Bodies only appear once you type.
• A custom shape you saved is found by its name too, once you type, and a click puts it into the design as in the shapes panel.
• It works in sketch mode as well, with the sketch tools.

Your own keys

Any command of the command search can go on a key of your own: a tool you use all the time, a shape, “จัดไว้กลางพื้นงาน” or “เปิดแผงรูปทรง”.

1. Open “คีย์ลัด” and click “เพิ่มปุ่มลัด” under “ปุ่มลัดของคุณเอง” at the top of the window.
2. Type a few letters of the command and click it, or press Enter for the first one.
3. Press the key you want, alone or with Ctrl, Alt or Shift. Letters, digits and F1 to F12 can take a command.

A key the editor already uses, one the browser keeps for itself (such as Ctrl+W) or one of your own keys is refused, and the window says what it does. Click a key in the list to change it, the X next to it to remove it, or “ลบปุ่มลัดของฉันทั้งหมด” to start over.

• The key runs the command just as the command search does. If it cannot run right now, mostly because nothing is selected, the status bar says so.
• Your keys show next to their commands in the command search and on the printed list.
• They stay in this browser, like the theme. A key for a sketch tool works in sketch mode, a key for the 3D editor outside it.
• While you type in a field, your keys keep out of the way like all the others.

Interactive Help

Cannot find where to read about a button or a field? Let the program take you there. Click the question mark in the “ช่วยเหลือ” area, or press Shift+F1. The pointer turns into a question mark, and whatever lies under it is outlined.

• Click a button, a field, a switch, a handle, a group of the ribbon or the title bar of a window. It does not do what it normally does. A small window opens instead, with the name of the element, a short summary of the part of this guide that is about it, up to two more places that mention it, and “เปิดในคู่มือ”.
• The help is about the element you pointed at, not about the whole window around it. An element without a name of its own uses the nearest one around it; inside a window it falls back on that window's question mark.
• “เปิดในคู่มือ” opens the guide at that section in a new tab. There the section is outlined in colour, from its heading to its end, so you see where it starts and stops.
• If the guide says nothing about the element, the window says so and offers “ค้นหาในคู่มือ”.
• Esc, or the question mark again, leaves the mode. On a touch screen there is no hover: a tap on an element opens the window straight away.

The window moves by its title bar like the other windows. The program finds the section by the name of the element - the label on a button, the name of a field - because this guide writes every button as it is called in the program. It looks it up in the same search as the box at the top of each guide page, in the language you are using, and runs entirely in your browser.

ที่เลือก

คลิปบอร์ด

ประวัติ

ไฟล์

รวมกลุ่มและการแสดงผล

ปรับรูปที่เลือก

ย้ายและหมุน

มุมมองและพื้นงาน

ช่วยเหลือ

โหมดสเก็ตช์

ลบมุมเฉียงและลบมุมโค้ง

14. Building with an AI (MCP)

How an AI assistant such as Gemini, Claude or Codex creates and changes shapes, groups them and takes pictures of the view in your open editor.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

layerling comes with an MCP server. MCP is a standard through which an AI assistant can use tools in other programs. With it an AI client such as Gemini, Claude or Codex sees an open editor tab and works in it: it creates shapes, changes dimensions, groups, cuts, rounds edges, reads out the scene and takes pictures of the view. You describe the part, the AI builds it, you watch and can step in at any moment.

The bridge between AI client and editor runs locally on your computer. Keep in mind, though: what the AI reads, meaning the scene and the pictures of the view, goes to the provider of your AI client, like any other input there.

Step by step for beginners

You do not need to know anything about programming for this.

The shortest way: give your favourite AI the address of the project, https://github.com/henmedia/layerling, and ask it: "Set up layerling on my computer so that I can build 3D models with you through its MCP server." It downloads and installs everything itself and tells you when it is done. This works with an AI that can work on your computer, such as the Code tab of the Claude app, Codex, Antigravity or Gemini CLI. A chat in the browser cannot do it, because it cannot install anything on your computer.

Or do it yourself, on Windows with the Claude app, in five steps:

1. Install layerling. Open the Start menu, type PowerShell and open Windows PowerShell. Copy this line, paste it into the window with a right-click and press Enter:

irm https://raw.githubusercontent.com/henmedia/layerling/main/scripts/windows-quickstart.ps1 | iex

It installs what layerling needs, downloads layerling into the folder layerling in your user folder (C:\Users\<your name>\layerling) and opens it in your browser. The first time this takes a few minutes.

2. Keep layerling running. layerling runs as long as the PowerShell window stays open, and the AI can only build while it runs. Next time, double-click "Start layerling" on your desktop instead.

3. Install the Claude app. Install the Claude app for Windows and sign in. The Code tab used in the next step is part of the paid Claude plans.

4. Open the layerling folder in the Code tab. In the Claude app, switch to Code at the top and choose the folder layerling in your user folder as the folder to work in. layerling already brings everything Claude needs to find its tools. If Claude asks whether it may use the MCP server "layerling" of this folder, allow it.

5. Tell Claude what to build. For example: "Use the layerling tools and build me a round box, 60 mm across and 40 mm high, with a 2.5 mm wall." If no editor is open, Claude opens one in your browser, builds the box there step by step and takes pictures to check its work. You watch and can change anything yourself at any time.

On a Mac it goes the same way, with these changes. In step 1, open the Terminal app (press Cmd+Space, type Terminal and press Enter), paste this line and press Enter:

curl -fsSL https://raw.githubusercontent.com/henmedia/layerling/main/scripts/mac-quickstart.sh | sh

If Git or Node.js is missing, it tells you what to install (macOS offers Git in a window, Node.js comes as an installer from nodejs.org); afterwards run the same line again. In step 2, the shortcut on your desktop is also called "Start layerling". In step 3, install the Claude app for Mac.

Setting up

1. Get layerling from GitHub and start it in the project folder with npm run dev. Node.js must be installed. On Windows the quick-start line in the README takes care of that.
2. Open an editor tab, for example http://127.0.0.1:3000/?editor=1. You can leave that to the AI: when no editor is open, the first tool that needs one starts your browser with an editor and waits until it has connected. That works for a layerling on your own computer; a copy on a NAS or server needs you to open the editor. Set LAYERLING_MCP_OPEN_EDITOR=0 for the MCP server to switch it off.
3. Connect your AI client to the MCP server. The client starts it itself with node scripts/layerling-mcp-server.mjs.

Claude Code

Nothing to install: the project brings a .mcp.json that registers the server, and the skill under .claude/skills/layerling-mcp-skill. Open the layerling folder in Claude Code and ask, for example: "Use the layerling MCP tools to list my open editors and inspect the scene."

Claude Desktop

Claude Desktop does not read project files. Enter the server in its own configuration. As a template use docs/mcp/claude-desktop-config.example.json in the project, replacing the script path with the absolute path on your computer. Then restart Claude Desktop.

Codex

Copy the skill from docs/skills/layerling-mcp-skill into your Codex skills folder, enter the server in your Codex configuration using docs/mcp/codex-config.example.toml, and restart Codex.

Gemini & Antigravity

Antigravity auto-discovers the workspace skill in .agents/skills/layerling-mcp-skill. For Gemini CLI, copy the skill from docs/skills/layerling-mcp-skill into your global skills folder (~/.gemini/skills/), add the server to your settings using docs/mcp/gemini-config.example.json, and restart the client.

The detailed instructions for each client are in the README on GitHub.

A copy on a NAS or server

A copy you host yourself can let an AI client drive its open editors over the network. It is off by default, because whoever can drive the bridge can read and change the open designs. On the server, set LAYERLING_MCP_REMOTE to true and LAYERLING_MCP_TOKEN to a secret of at least 16 characters (for the Docker image in environment: of the compose file; no rebuild needed). Open an editor tab of that copy and keep it open, and give the MCP client the address and the same token: LAYERLING_URL=http://nas:3000 and LAYERLING_MCP_TOKEN=<the token>.

Only a client with the token can list or drive the editors. The editor pages need none, but they only count under an address or name that only your own network can use (an IP address, a name without a dot, or one ending in .local or .lan); a real domain behind a reverse proxy goes into LAYERLING_MCP_ALLOWED_HOSTS. Use it on a network you trust, and HTTPS beyond it. The README has the details.

What the AI can do

The AI works with the same functions as you, through the same path as your operation in the editor. New layerling functions get their MCP action right away. The tools:

That lets the AI check itself: it creates something, takes a picture, looks and improves.

An example

You say: "Build me a round box 60 mm across, 40 mm high with a 2.5 mm wall, open at the top, plus a flat lid with 'Tea' written in an arc." The AI creates the cylinders, hollows one, puts the curved text on the lid and takes pictures at the end to see whether it fits.

15. Installing as an app, working offline and self-hosting

Start layerling like a normal program, even without a network, and how to run it on your own computer.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Installing as an app

layerling can be installed like a normal program. It then gets an icon and a window of its own, without an address bar. After the first visit it starts even without internet. Your designs stay on your computer. Installing is worth it: the app starts faster, because it does not have to be loaded again each time, it works without internet and it spares the server. You lose nothing, as layerling still tells you when a new version is out. This also protects your designs: Safari on the Mac and on iPhone and iPad clears the stored data of a website that has not been visited for seven days, but not that of an installed app.

On the start page a hint with “ติดตั้งเลย” appears if your browser can do it. Otherwise:

• Chrome and Edge: Click the install icon at the right of the address bar, or choose "Install as app" in the browser menu.
• Safari on the Mac: Menu "File", then "Add to Dock".
• Safari on iPhone and iPad: Share icon, then "Add to Home Screen".
• Firefox: cannot install apps. layerling still starts offline in a tab there.

You can close the hint on the start page with “ซ่อนคำแนะนำนี้”. Starting the installed app a second time in Chrome or Edge brings the open window to the front instead of opening another one.

On a computer, an installed layerling in Chrome or Edge also registers as a program for .lyl files: a double click on a design in the file manager opens it in layerling, and Ctrl+S saves back into that file. It does the same for .stl and .3mf files, which open as a new design, as with “เปิดงานออกแบบหรือนำเข้าโมเดล” on the start page. To make layerling the default for them, choose it under Open with and let the system always use it. On Android this does not work, there the browser offers no file association for installed web apps; open a design with “เปิดงานออกแบบหรือนำเข้าโมเดล” on the start page.

Updates

When a newer version exists, layerling shows it on the start page. Through “มีอะไรใหม่ & ดาวน์โหลด” you read what has changed. The version number is at the bottom right. After reloading the page you have the new version.

On layerling.com and on other web servers an open page notices an update by itself. It asks the server for its version now and then, when you come back to the tab, and at once if a program file it needs has disappeared. When something new was installed in the meantime, a card at the bottom right says so and lists what is new. “บันทึกแล้วโหลดใหม่” writes the design you have open into the browser first and then loads the page again; the design comes back as you left it. “ไว้ทีหลัง” holds the card back for 15 minutes. Reload soon: a page that stays on the old version may load parts of the new one that do not fit. The same card appears when that has already happened: the CAD workers, which load only when you first need them, say which build they are from, and if it is not the page's own - after an update, or with a stored copy of an older version - the card asks for a reload before the two misunderstand each other.

When layerling is open in several tabs, they look out for each other: if another tab already runs a newer version, a note at the bottom of the old tab asks you to reload it. And if the same design is open in two tabs, both warn you, because they save automatically and would overwrite each other. If you open layerling in one more tab while one is already open, the new tab suggests carrying on in the old one and offers to close itself. If you want two tabs on purpose, say for two designs side by side, click “ทำงานต่อที่นี่” there. This guide opens in a tab of its own as well: while layerling is open next to it, its button at the top right reads "Back to the editor" and closes the guide instead of opening the editor a second time.

Language and appearance

You choose the language at the top right, from the language list. The colour scheme beside it offers “ตามระบบ” (follows the operating system), “สว่าง”, “มืด” and “กราไฟต์”, a neutral dark grey.

Running it yourself

layerling is free software (AGPL-3.0) and can be run on your own computer or server, for example in a workshop, a club or a school. There are several ways, described in the README on GitHub:

• The quick start on Windows: A single line in PowerShell installs everything and puts a shortcut on the desktop. When layerling is already running, another double-click starts no second server and only opens the page.
• Docker: For NAS devices and home servers, without Node.js needing to be installed. Every release comes as a ready-made image henmedia/layerling on Docker Hub (also ghcr.io/henmedia/layerling) for amd64 and arm64; docker run -d -p 3000:3000 -v layerling-thumbnails:/app/.codex/project-thumbnails henmedia/layerling:latest starts it, and on a NAS you search for it in the container manager's registry. The volume layerling-thumbnails keeps the preview pictures of the start page through an update; without it they are missing each time the container is created again, until you open the design.
• Static export: The result is plain files that any web server can serve. They belong at the root of an address (https://layerling.example.com/ or http://192.168.0.5:8080/), not in a subfolder and not opened from disk; the README has the steps. With a writable folder store next to index.html and PHP on the server it also becomes the shared storage for designs.

The MCP bridge for AI assistants exists only in the development server, see Building with an AI.

Help and feedback

• In the editor, the “ช่วยเหลือ” area holds the “คู่มือฉบับย่อ” with the most important moves and the overview of keyboard shortcuts. Each section of the quick guide has a question mark that leads to the matching chapter here.

• Questions, wishes and bug reports are welcome in the forum and on GitHub.
• What changed in which version is in the release notes, which you find at the bottom of the start page and of the editor.

16. Videos about layerling

Videos that other people have made about layerling.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Made by others

These videos are not from this project. The links open YouTube in a new tab; nothing is loaded from there until you click.

• Layerling Tutorials – HL ModTech (English). A playlist by a Tinkercad user, so far with a look at layerling of about 23 minutes (free, browser-based CAD that extends Tinkercad), a deeper dive into its features and a short update on printed threads.
• Layerling – Playlist – Making Layers (English). A series about layerling, so far with "Tinkercad alternative / upgrade? Introducing Layerling!", an overview for people coming from Tinkercad, and "Layerling Sketch Tools!" on the sketch tools.
• Layerling – TECHNOBENTO (English). A playlist about layerling, so far with “A new way to sketch in Layerling”.
• Layerling CAD Videos – Printology (English). A playlist about layerling, so far with “I'm 100% In on Layerling - The Next Big Free CAD” and “Layerling Features That Blow Tinkercad Out Of The Water”.
• I Tried Layerling After Tinkercad… Is It REALLY Better? – Maker Mates Studio 3D Printing (English). Someone coming from Tinkercad tries layerling and compares the two.
• Print by Layer – Print N Repeat (English). A playlist about layerling, so far with “The EASIEST Way to Design Hinges in Layerling” and “The EASIEST Way to 3D Model Threads!”.
• Tinkercad Too Basic? Fusion 360 Too Much? Meet Layerling for 3D Printing – 3D Jesus | 3D Printing & Design (English). A first test of layerling without any manual: fillets and chamfers, hollowing, threads, sketches, revolved bodies, patterns, import and printer profiles.
• Layerling en español | Del primer contacto al proyecto completo – Random Maker (Spanish). A playlist in Spanish, from a first look at layerling to complete projects: how it differs from Tinkercad, a point-by-point comparison and moving projects over.
• Proyectos en Layerling – Fulcro 1900 (Spanish). A playlist of projects in layerling, so far with an introduction to layerling as a free tool more complete than Tinkercad, desk accessories (three models), a phone case, and a threaded rod, nut and screw.
• Layerling – Werkplaats Marc (Dutch). A playlist about layerling, so far with a first look for Tinkercad users (“Layerling - De Gratis Tussenstap van Tinkercad naar Fusion 360”) and a tutorial on sketches: tracing a photo, revolve and sweep along a path (“Schetsen Uitgelegd”).

Do you know another video, or made one yourself? Tell us in the discussions and it will be added here.

17. Tablet and touch

Working with fingers or a stylus: selecting several bodies, turning and zooming the view, the long press menu, and what to know on an iPad.

บทนี้ยังไม่ได้แปลเป็นภาษาไทย เนื้อหาด้านล่างเป็นภาษาอังกฤษ

Fingers and a stylus

layerling runs in the browser of a tablet, and as an app from its home screen. A finger does what the left mouse button does. Three things a tablet does not have, a right mouse button, a Shift key and a wheel, have a way of their own:

Selecting several bodies

Without a Shift key, “เลือกหลายชิ้น” in the menu of a long press does what Shift+click does on a computer. While it is on, a message says so, and each tap on a body adds it to the selection or takes it out again. A tap on empty space, or Esc on a keyboard, ends it and leaves the selection as it is. A finger on empty space still turns the view meanwhile. Then “รวมกลุ่ม”, “จัดแนว” or a move work on all the bodies you picked.

The same menu has “วางลงบนหน้า”, the key C for a touch screen. The selection then follows the finger over the faces of other bodies; a tap sets it down on the face you tap, even a sloped one, and the first tap is enough. The menu entry is also found by searching for "set down" or "cruise" (the command search, Ctrl+K on a keyboard).

Turning and zooming the view

One finger on empty space turns the view, two fingers zoom and move it. A finger that starts on a body works on the body, not on the view. If you would rather have it turn the view, switch on “หมุนมุมมองด้วยนิ้วเดียว” in the view bar: one finger then turns the view instead of selecting, wherever it starts. That switch only shows on a device with a touch screen.

The view cube in the top left turns the view when you drag it, and a tap on one of its sides, corners or edges jumps to that view. See View and workplane.

Handles, small points and a stylus

A fingertip covers what it aims at. layerling lets a finger reach a little further to handles, points, lines and edges than a mouse pointer does, but a stylus is finer. This holds for a pen the tablet knows as a pen, such as an Apple Pencil or an S Pen. A plain stylus with a rubber tip counts as a finger for the screen and is not finer than one, so work with it as with a finger. An Apple Pencil that hovers above the screen on an iPad also shows the name of a control after a moment, in a small bubble, as the mouse pointer does with a tooltip.

In sketch mode, “วาดอิสระ” draws with the pen or a finger as on paper; when you lift it, the line becomes sketch points you can edit, see Sketches.

If bodies slip when children or hurried hands touch them, switch on “เลือกก่อนแล้วค่อยย้าย” in the settings: a body then has to be selected first, and only the next drag moves it.

On an iPad or iPhone

• Install it as an app. In Safari, tap the Share icon and choose "Add to Home Screen". The app opens in a window of its own without the address bar, and it works without a connection, see Offline and install.
• Your designs live in the browser (unless you host layerling yourself and set up a server folder). There is no account, and nothing is uploaded. Safari has a rule of its own against tracking: it deletes what a website stored after seven days in which you did not visit it in Safari. A web app added to the Home Screen is exempt from that rule, as WebKit documents it. That is one more reason to use the app from the Home Screen, and to back up important work: “สำรองข้อมูลทั้งหมด” on the start page packs all designs into one file.
• Files. Safari lets a page write into a file only through a download, so “ส่งออก” puts the file into the Downloads of the Files app, and Ctrl+S on a keyboard downloads it again; see Files and saving.
• No keyboard needed. Every tool has a button in the ribbon, and a number field opens the on-screen keyboard. A keyboard on the iPad adds the keyboard shortcuts. A value box beside a body opens its number field with the second tap: the first tap only marks it, so a finger that lands on it by accident does not raise the keyboard.

Workshops with children

Fingers and rubber-tip styluses work alike here. Two settings make a class easier: “เลือกก่อนแล้วค่อยย้าย” so that a touch does not move a body by accident, and “หมุนมุมมองด้วยนิ้วเดียว” so that one finger always turns the view. The question mark button in the Help group of the ribbon switches on the “ตัวช่วยแบบโต้ตอบ”: a tap on any button, field or handle then explains it, and the same button, or Esc, leaves it.

For a whole class, switch on “โหมดง่าย” in the settings. The ribbon then keeps only the tools a workshop uses (copy, paste, duplicate, delete, undo, group, mirror, chamfer, fillet, hollow, align, export), the shape library a short list, the buttons are larger, and the start page shows the designs and nothing else: no news, no welcome text, no help buttons and no links out of layerling. Switching it on is a tap; switching it off is a press held for two seconds on the button that then takes its place. A link ending in ?mode=simple switches it on for the device that opens it, ?mode=full switches it off again. Whoever runs layerling on a server can start everyone in it with LAYERLING_SIMPLE_MODE=true, or fix it for everyone with always, so that the program has no switch to leave it; see the README.