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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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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 “Criar novo projeto 3D”. The editor opens with an empty workplane, the grid on which everything takes shape.

If you already have a file to continue with, use “Abrir um projeto ou importar geometria”. 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 “Fazer backup de tudo” on the start page, or save them as files. A backup comes back with “Restaurar backup”. How to pack designs into a file and pass them on is covered in Files and saving.

The editor at a glance

• On top is the ribbon. It is sorted by task: “Área de transferência”, “Histórico”, “Formas”, “Visibilidade”, “Combinar”, “Modificar”, “Organizar”, “Gerenciar” and “Ajuda”. Hover over an icon to see its name. Wherever you see a small question mark, for example in a shape's settings, in the shape library or in the tool panels, it leads straight to the matching chapter of this guide.
• In the middle lies the workplane. This is where you place shapes, pull them into form and see the result.
• On the right appear the settings of the selected shape: colour, dimensions, position and whatever else makes up the shape. Typing numbers is more exact than dragging.
• On the left are the camera controls with the view cube above them. They move you around the scene, more in View and workplane.
• At the very top you switch between “Editor 3D” and “Esboço”, 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 “Ajuda interativa” in the “Ajuda” area (Shift+F1) and then the button. These are the ones asked about most.

Paste

“Colar” (Ctrl+V) adds what you copied with “Copiar” to the design. “Duplicar” copies and pastes in one step.

Delete

“Excluir” (Delete) removes the selected shapes. “Desfazer” brings them back.

Ungroup

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

Workspace settings

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

Theme

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

Rename design

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

Design name

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

Visibility options

“Opções de visibilidade”, 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

“Ocultar selecionados” (Ctrl+H) hides the selected shapes. They stay in the design and in the object list; “Opções de visibilidade” shows them again.

Search commands

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

Hide camera controls

“Ocultar controles da câmera” folds the camera controls on the left away and gives the work area more room; “Mostrar controles da câmera” brings them back.

Snap Grid

“Grade de encaixe”, 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 “Grade de encaixe” changes the unit, the plate's grid and the snap step, for this design.

The footer

At the foot of the window: “Apoie o projeto” leads to the page where you can support the project; “Guia do usuário” opens this guide; “Discussões” leads to the place for questions, ideas and bug reports (the discussions on GitHub, in German the forum of drucktipps3d); “Relatar erro” makes a ZIP for a bug report; “Mais sobre o projeto no 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.

Your first part

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

1. Click “Adicionar forma” in the ribbon and pick “Caixa”. 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 “Cilindro” 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 “Orifício” on the right. It turns see-through: the solid has become a tool that takes material away.
5. Select both shapes and click “Grupo de união”. 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, “Mostrar versões anteriores” adds the versions from before your last visit too. Close it with “Entendi” and it stays away until the next update. “O que há de novo?” in the footer of the start page shows the latest additions again at any time. 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, “Prévia: o que a atualização traz?”, 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 “Exportar”, 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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

Moving around

With the mouse:

How fast the wheel zooms is set with “Velocidade do zoom” in the settings, under “Aparência”: 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.

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 “Girar a vista com um dedo” in the camera 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 “Girar a vista com um dedo”.

The camera bar

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

• “Início” brings the whole scene back into view. The key is Home; F does it too when nothing is selected.
• “Centralizar a vista na seleção” zooms to the selection (F or Shift+F).
• “Aproximar” and “Afastar” zoom step by step, as do the keys + and −.
• “Vista ortográfica” 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.
• “Ocultar plano de trabalho” (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.
• “Posicionar plano de trabalho”, 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.

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.

Looking inside: the section view

“Vista em corte”, 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.

• 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.
• “Eixos de referência” sets what these axes follow. “Projeto” takes the design's axes. “Plano de trabalho” 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. “Vista” 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.
• “Aproximado” moves the plane across the whole design, “Fino” 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, “Centralizar” puts the plane back in the middle, and “Mostrar plano de corte” hides the blue plane.
• You can click and select what the cut lays open, inner walls included.
• “Plano de trabalho aqui” 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.
• “Medir” 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.
• “Corte como 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 panel 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 panel; with a measuring running, Esc ends it first. The cut stays until you switch it off with “Corte ativo” 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 panel has two more buttons: “Voltar” ends the measuring if one is running and otherwise closes the panel, and “Fechar” closes the panel 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 “Posicionar plano de trabalho”.
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 “Plano de trabalho de volta à base”: the button with the downward arrow sits in the camera bar below the eye while the workplane lies on a face. Shift+W puts it directly on the currently selected face. If you hold Shift while clicking, the plane points the other way.

While a workplane sits on a face, an eye appears next to “Posicionar plano de trabalho”. 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.

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. “Encaixar na grade” 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.

The settings window

The cogwheel in the ribbon (“Configurações da área de trabalho”) opens the settings. On the left are five areas: “Aparência”, “Medidas”, “Plano de trabalho”, “Padrões das formas” and “Histórico”. A change counts at once. “Tornar padrão” at the bottom saves the current settings as the default, so that a new design starts with them, and “Fechar configurações” at the top right closes the window. This part goes through the settings one by one.

Appearance: theme, toolbar and view cube

“Tema” sets the colour scheme of the whole program: “Sistema” follows your computer, the others are “Claro”, “Escuro” and “Grafite (escuro neutro)”. You can also change it at the top right of the editor.

“Tamanho da barra de ferramentas” makes the buttons of the ribbon on top, its shape menu, the camera controls on the left and the properties panel on the right smaller or larger: “Pequeno”, “Médio” (as it always was) or “Grande”. 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 is kept in this browser and holds for every design.

“Posição do cubo de visualização” puts the view cube in another corner of the workplane: “Superior esquerdo” (as it always was), “Superior direito”, “Inferior esquerdo” or “Inferior direito”. In any corner but the top left, the camera controls move up into the spot the cube left. In the bottom right the cube stands just above the “Grade de encaixe” 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: fast mode

“Modo rápido” 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 “Desligado no modo rápido” 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 “Aparência”: “Fundo da janela (tema claro)” and “Plano de trabalho sob a grade (tema claro)” for the light theme (the dark themes keep their own), next to the grid colour under “Plano de trabalho”. 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: “Esboço: fundo da janela (tema claro)” for the window round the sheet, “Esboço: área sob a grade (tema claro)” for the sheet under the grid, and “Esboço: cor da grade (tema claro)”, all for the light theme. “Esboço igual à área de trabalho” takes over the work area's three colours in one click.

“Visual clássico” 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

“Setas dos eixos” (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.

“Linhas de aresta em todos os sólidos” draws an outline on every body, in the colour of “Cor das linhas de aresta” (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.

“Destacar os orifícios” 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.

Appearance: light and shadows

“Mostrar sombras” switches the cast shadows on and off. Two sliders set how the bodies are lit. “Intensidade da sombra” says how dark the cast shadows are, and “Contraste do sombreamento” 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. “Suavidade da sombra” makes the edges of the shadows soft instead of crisp. “Direção da luz” turns the main light round the plate (0° from the front, 90° from the right), and “Altura da luz” lifts it; at 90° it stands straight above the plate as in Tinkercad, and the shadows fall right under the bodies. “Restaurar luz e sombras” puts everything back.

Appearance: measures on the workplane

“Mostrar dimensões do deslocamento” shows by how much you move while dragging, “Mostrar distâncias até a origem” the distances of the selection to the origin of the plate, also with several bodies selected. With “Dimensões sempre visíveis” 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; “Mostrar os ângulos de sólidos girados” switches that off. More in Measuring and notes.

Appearance: selecting and moving

“Selecionar antes de mover”: 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.

“A direção da moldura define a seleção”: 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.

“Clique duplo abre o esboço” decides whether a double click on an extruded sketch opens the sketch again, as in Tinkercad, and “Clique duplo abre um grupo de união ou um conjunto” whether a double click on a group or a bundle opens it for editing.

“Encaixar em outras formas ao mover” 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. “Cruise ao adicionar formas novas” 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

“Abrir o editor na vista em perspectiva”: the editor then opens in the perspective view, not in the flat one.

“Velocidade do zoom” 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. “Inércia da câmera”: after you let go of the mouse the view turns on for a moment and slows down gently. Switched off, it stops at once, as in Tinkercad and Fusion 360.

“Marcar saliências a partir de {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.

“Cortar malhas importadas de até” 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 “Medidas” you set the “Unidades”, the unit that measures are shown in (“Escala”: millimetres, centimetres or metres in metric, inches or feet in imperial), how many decimal places a number shows (“Precisão”), the “Grade de encaixe” that moving and resizing snap to and your own snap steps under “Grades de encaixe personalizadas”.

Under “Medidas” in the settings you set the “Unidades”. With “Imperial”, 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 “Mostrar polegadas como” 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 “Precisão”. You can type either, "1 5/8" included. A quick way between millimetres and inches is the small switch mm | in beside the “Grade de encaixe” 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 “Grades de encaixe personalizadas” 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 “Também metade e quarto” beside it; the menu then has only that one step. Custom steps are kept with the design and go along with “Tornar padrão”.

Workplane: plate and printer

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

“Tamanho do plano de trabalho” gives the plate a size of your own, with “Largura” and “Comprimento” 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

“Mostrar grade” shows or hides the grid on the plate. “Tamanho do bloco da grade” sets the spacing of its lines, and “Linha mais escura da grade a cada” whether the darker line comes every 5 or every 10 grid steps; “Cor da linha mais escura” gives that line a colour of its own, and the centre cross and the plate border take it too. “Cor da grade” 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 “Linhas da grade engrossam com o zoom” 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, “Restaurar grade” at the end of the “Plano de trabalho” area brings its visibility, colours, spacing and line weight back to the standard, here and in the default saved with “Tornar padrão”.

Shape defaults

Under “Padrões das formas” you choose a shape with “Forma” and set how it starts when you add it: its width, length and height. “Usar padrões do app” takes the shape back to what the app starts it with. Shapes with settings of their own show them under “Detalhes da forma”. The values apply to new shapes, not to those already on the plate. “Limite de tamanho personalizado” 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 “Histórico” the slider “Histórico salvo” 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:

• “Modo rápido” under “Aparência” 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 “Inércia da câmera” under “Aparência”, and the view stops at once.
• Single switches: Without fast mode you can also turn off just “Mostrar sombras” or “Linhas de aresta em todos os sólidos”.
• 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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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 “Adicionar forma” in the ribbon. The shape library opens.

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, “Posicionar plano de trabalho”, “Deitar sobre a face” 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 “Aparência”, switch “Cruise ao adicionar formas novas”).

What the library offers:

• Basic shapes: “Caixa”, “Caixa arredondada”, “Cilindro”, “Cápsula”, “Elipse”, “Polígono” (three to twenty-four sides), “Esfera”, “Cone”, “Pirâmide” (with three to twenty-four sides, so three-sided too), “Rampa”, “Telhado arredondado”, “Meia esfera” and “Toro”.
• Tubes: “Tubo” and “Tubo curvado”, made of up to twelve straight pieces with bends in between, and the “Transição” from one outline to another, say from square to round.
• Decorative shapes: “Estrela”, “Coração” and “Meia-lua”.
• Lettering: “Texto”, also along a circular arc. More in Text.
• Mechanics: “Rosca” (threaded rod, screw, nut and tapped hole), “Mola”, “Gridfinity” bins and baseplates, “Engrenagem” and the “Serrilhado” for grips. More in Threads and mechanics.
• For constructions: the print-in-place “Dobradiça”, “Rabo de andorinha”, the “Furo em gota” for horizontal holes, the “Rebaixo” and “Escareado” for screw heads and the “Régua”, which is only a measuring tool and never shows up in an export.

You get a triangle in two ways: the “Polígono” with three sides is an isosceles triangle, the "Roof" of Tinkercad, and the “Rampa” 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 “Centralizar no plano de trabalho” or “Alinhar”. 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 “Cápsula” can be narrower at one end than at the other, say for a guard over a belt between two pulleys. Under “Propriedades” set “Ponta menor (diâmetro)”; the large end is as wide as the capsule, and the sides run straight from one arc to the other. “Distância entre centros” 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 (“Renomear”) 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 (“Propriedades”, “Posição”, “Rotação”, “Afunilamento”, “Torção e inclinação” 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.

• “Sólido” or “Orifício”: A solid stays, a hole takes material away. A click on “Sólido” opens the colours; colours of your own that you mix there wait under “Usadas recentemente” afterwards, the last eight. More in Solids and holes. The pin in the row “Guardadas” 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.
• “Transparente”: Lets you see through the body, for example to spot a shape behind it.
• “Multicor”: For a group only; 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. Bundles always keep 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.
• “Propriedades”: 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 “Diâmetro externo”, the “Diâmetro interno” (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. “Salvar como padrão” at the bottom makes the current values the start values of this kind of shape (the same as “Padrões das formas” in the settings), and “Restaurar padrões” goes back to the app's own.
• “Transformar em elipse”: 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 “Elipse” - 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 “Elipse” from the start for those.
• “Afunilamento”: Different sizes at the top and bottom, for example for a slope or a funnel.
• “Torção e inclinação”: Twists the top against the bottom or shifts it sideways. That gives twisted columns and leaning towers.

Taper and twist work on almost every shape. Only the gear, thread, spring, Gridfinity, hinge, pyramid, bent tube, teardrop, 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.

“Salvar como padrão” 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. “Restaurar padrões” 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 “Padrões das formas”. 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.

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.

Choosing colours

A click on “Sólido” in the properties of a body opens the colour card, headed “Cor da forma”. 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.

“Personalizada” 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 “Usadas recentemente” afterwards, the last eight. The pin in the row “Guardadas” 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 “Lados acompanham o tamanho” and the slider “Lados” in their properties. The “Toro” has two sliders: “Lados do anel” around the ring and “Passos do tubo” 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.

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 (“Chanfro”, “Arredondamento”) 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 “Telhado arredondado”, 24 steps for the “Esfera”, 32 for the “Meia esfera”, 96 sides and 24 steps for the “Toro”, and a “Qualidade” of 32 for a round “Tubo curvado”.
• For a thread, a spring or a helical gear. The edge tool and the STEP export take its exact body; its “Qualidade” 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 “Lados acompanham o tamanho” on.

How to use it

• Leave “Lados acompanham o tamanho” 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 “Polígono” 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 “Manter proporções” 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 arrow on top changes the height, the handle in the middle lifts or lowers the shape.
• 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. 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, 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 “Deitar sobre a face”, the fields in the properties are named after the direction each measure runs in now: “Altura” is what goes up, “Largura” runs along X and “Comprimento” along Y. 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 “Linha mais escura da grade a cada” to “10 passos da grade” in the settings under “Aparência”: 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 “Padrões das formas” with “Limite de tamanho personalizado”.

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

Copying and duplicating

“Copiar”, “Colar” and “Duplicar” are in the ribbon (“Área de transferência”). 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. For regular arrangements there is also the pattern, described in Selecting and arranging.

Custom shapes

A holder, a grip or a base plate you need again and again goes into the “Formas personalizadas”. They sit at the top of the shape library, above the “Formas básicas”, 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 “Salvar seleção”. Enter a name and confirm with “Salvar”.
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 “Formas personalizadas” live in this browser, apart from the designs, and are there again the next time you start. “Fazer backup de tudo” 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, “Fazer backup das formas personalizadas” (the arrow pointing down) saves them as a ZIP file and “Carregar formas” (the arrow pointing up) brings them back there. “Carregar formas” also takes single .lyl designs; each one becomes a shape. Shapes already there are not added twice.

Folders

Many custom shapes sort better into folders. “Nova pasta” (the folder with the plus, next to “Salvar seleção”) asks for a name and makes a folder at the top; the folder with the plus on a folder, “Nova subpasta”, 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; “Sem pasta” keeps the shape at the top.

The folder with the arrow on a tile moves that shape into another folder, or back out with “Sem pasta”. 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: “No servidor” and “Neste navegador”. 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 “Envolver em um cilindro”:

1. Open “Envolver em um cilindro” and enter the “Diâmetro” of the cylinder wall, such as the outside diameter of your cup. Tenths of a millimetre work too, such as 63.5.
2. Click “Envolver”. 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.

For an engraving, switch on “Para dentro (gravação)”: 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.

4. Selecting and arranging

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

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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 “A direção da moldura define a seleção” in the settings (area “Aparência”): 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.

What is in your way you hide (“Ocultar selecionados”, 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.

A number on the button of the group “Visibilidade” 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.

The object list

With many parts it is easy to lose track in the view. The object list (“Mostrar lista de objetos” 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 label shows whether a part is “Sólido” or “Orifício”.
• Padlock and eye lock and hide single parts.
• “Renomear” 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 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 camera 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.

Typing a position

The card “Posição” 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 (altura)” is the height of its underside. 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.

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.

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 (“Encaixar em formas”) 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 “Alinhar”: 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 (“Posicionar plano de trabalho”, 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.

Mirroring

“Espelhar” (M, or right-click the selection and choose it) flips the selection across a plane: “esquerda-direita”, “frente-trás” or “cima-baixo”. 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 “Definir ponto de rotação”: afterwards click on a face. A flat face supplies its centre, for example the axis of a tube end. 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, “Rotação” shows them as “Em torno de X”, “Em torno de Y” and “Em torno de Z (altura)”, 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; “Mostrar os ângulos de sólidos girados” 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 “Posição” the pivot has its own X, Y and Z, which you can type or nudge, and “Remover” 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.

Laying flat on a face

Should a part lie on its best side for printing? Select it, click “Deitar sobre a face” 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 “Alinhar faces”, then click its face and after that the face of the other part. In the panel, “Face com face” puts the faces against each other (back to back, touching), “Rente” lays them in one plane side by side; “Espaço” leaves room between them, for example for clearance. “Alinhar” 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.

An exact angle between two faces: “Alinhar faces” 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 “Alinhar faces”, so they are parallel. Then set the pivot on the edge where they meet (“Definir ponto de rotação”, click the edge or a corner) and type the angle, 15 or 30 say, in the “Rotação” 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 “Baixar até o plano de trabalho” (D), which drops the selection onto the workplane, and “Centralizar no plano de trabalho”.

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. Without a keyboard, the menu of a long press has “Colocar sobre uma face” for the same.

Patterns: row and circle

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

• “Fileira”: The selection is repeated at equal distances. The row steps along all three axes at once, with “Espaçamento X”, “Espaçamento Y” and “Espaçamento Z (altura)”: 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.
• “Círculo”: The selection is spread around a centre. How many copies there are you set under “Quantidade (com o original)”, and the “Ângulo total” is 360° for a full circle. Choose whether the copies turn along. “Subida por cópia” lifts every copy a little more than the one before (a screw or an ascending spiral), and “Mudança de raio por cópia” 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 “Definir ponto de rotação”, then the centre of the circle lies exactly there.

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

Hole pattern on a face

For vents, speaker grilles, baskets and enclosures the “Padrão de furos” spreads holes evenly over a flat face. You no longer have to make one hole, repeat it and set it onto the wall. Select exactly one body and click “Padrão de furos” in the “Modificar” group of the toolbar, 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. A curved face does not work: you get a hint and click a flat one instead.
2. In the window, set how the holes look and lie:

• “Forma do furo”: “Redondo”, “Quadrado”, “Retângulo”, “Hexágono” or “Oblongo”.
• Size: the “Diâmetro (Ø)” of a round hole, the “Comprimento do lado” of a square one, “Largura” and “Altura” for a rectangle and a slot. For the hexagon the size is the “Diâmetro entre cantos (Ø)”.
• “Espaçamento centro a centro”: 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.
• “Parede entre os furos”: 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, and the other way round. For hexagons, rectangles and slots layerling measures the least distance between their edges.
• “Disposição”: “Grade” puts the holes in rows and columns. “Intercalada” 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.
• “Margem até a borda da face”: 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.
• “Profundidade”: “Atravessando o sólido inteiro” (the default) cuts through the whole wall. With “Profundidade personalizada” 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. “Outra face” chooses another face, Esc closes the tool, and like the other tool windows it moves by its title bar.
2. Only “Criar” makes the holes.

The holes are ordinary holes grouped with the body, just as after “Grupo de união”: nothing is baked in. “Desagrupar” 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 “Desfazer”. The tool does not make more than 400 holes at once; make the holes bigger or the spacing wider then.

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 “Face” 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 “Face” in the “Modificar” group of the toolbar, 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.
2. In the window:

• “Direção”: choose “Para fora: adicionar material” for material standing on the face or “Para dentro: cortar uma cavidade” 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.
• “Recuo a partir da borda da face”: 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.
• “Raio dos cantos”: 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.
• “Profundidade”: how far the new part stands out of the face, or how deep the pocket goes.

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

What the tool adds is an ordinary sketch body grouped with the body: nothing is baked in. “Editar grupo” opens the group, and “Editar esboço” 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 “Desfazer”. To change the inset or the radius later, undo and run the tool again. To round the top edge afterwards, use “Arredondamento” with “Arestas de cima” 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: “Sólido” or “Orifício”, one colour for all (a click on “Sólido” 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 “Redimensionar por porcentagem” 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 “Redimensionar por porcentagem”. Select the parts, right-click them and choose “Redimensionar por porcentagem”, or search for it with Ctrl+K.

Under “Novo tamanho” 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:

• “Juntas”: The parts grow around their common centre, and the gaps grow with them. The whole becomes larger as if it were one part.
• “Cada uma no lugar”: Every part grows where it stands, and the gaps between them stay the same.

Only “Redimensionar” changes the design, and one step back undoes it. With a locked part in the selection it does not open.

Undoing

“Desfazer” (Ctrl+Z) and “Refazer” (Ctrl+Shift+Z or Ctrl+Y) step through your history. How many steps travel with the saved design you set in the settings under “Histórico”.

Looking back: the history view

“Histórico”, 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.

Two things you can take along from an earlier state. “Novo projeto a partir deste estado” 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. “Exportar este estado” 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 “Trazer para o projeto”. 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 “Abrir grupo” 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. “Sair” closes it again. This is only to look - the group, the design and the history stay as they are.

“Excluir histórico” 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 “Nenhum” when exporting instead.

5. Solids and holes

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

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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 “Sólido” or “Orifício” 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 “Grupo de união” (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.

You can treat a group like a shape: move, rotate, colour, group again. “Desagrupar” (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.

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 “Criar conjunto” (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.
• 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.

“Desagrupar” (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

“Interseção booleana” 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. Next to it, “Mostrar parte em comum” shows the common part before you apply it: 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; “Interseção booleana” applies it, Esc closes the preview.

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 “Editar grupo” in its settings, the folder icon in the object list, or press E. A double click on the group does the same, as in Tinkercad, on a bundle too; if you would rather not, switch off “Clique duplo abre um grupo de união ou um conjunto” 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. “Concluído” rebuilds the group, with its name, its colour and its state as solid or hole. “Cancelar” 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". “Concluído” and “Cancelar” 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 “Desagrupar”, which takes a group apart for good, editing keeps the group: its name and settings stay, and you can always go back with “Cancelar”.

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

Splitting

“Dividir” in the “Modificar” 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.

• “Orientação do plano”: 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.
• “Alinhar ao plano de trabalho”: “Paralelo” lays the plane parallel to the workplane, “Transversal a X” and “Transversal a 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. So you put the workplane on a sloped face with W and cut right there, without turning the sliders.
• “Posição do plano”: 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.
• “Escolher face”, 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.

“Dividir modelo” 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 “Deitar sobre a face”.

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.

Separating parts

If a shape consists of several separate pieces, such as text made of single letters, “Separar peças” 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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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 “Arredondamento” or “Chanfro” 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 “Aplicar” 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; “Concluído”, Esc or the cross closes it. With Shift or Ctrl a click on “Arestas de cima”, “Arestas de baixo”, “Arestas verticais” or “Arestas horizontais” adds those edges to the ones picked instead of replacing them.

The panel 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 “Vazar” and “Padrão”. Double-click the title bar to put it back.

Picking a shape from the shape list while the panel 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 panel you find:

• “Todas as arestas vivas” selects every edge at once, “Limpar” empties the selection.
• “Raio” for the fillet. For the chamfer you set “Distância” or “Ângulo”.
• “Raio variável” (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 “Raio no início” and “Raio no fim”. Which end counts as the start follows from how the edge was built; if the larger radius comes out at the wrong end, “Trocar as pontas” turns it round. It works on one edge at a time, so round several edges one after the other. “Editar” brings both values back.
• “Limite de aresta viva” decides which edges count as sharp at all. A value of 25° treats only clear kinks as edges and leaves flat transitions alone.
• “Arestas verticais” picks the edges that stand straight up, such as the corners of a box: one fillet then rounds all the vertical corners at once.
• “Arestas de cima” 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. “Ângulo” sets how steep the chamfer is; it cannot reach further than the wall is thick.
• “Arestas de baixo” picks only the edges along the very bottom of the body, the mirror of “Arestas de cima”. It is the quick way to round or chamfer only the foot of a part.
• “Chanfro com arredondamento”, chosen at the top of the chamfer window next to “Chanfro”, 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. “Distância” is the height the foot takes up, “Ângulo” (15° to 75°) the steepness of the chamfer at the plate. Pick the edges with “Arestas de baixo”.
• “Só arestas visíveis” 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.
• “Um clique também escolhe arestas que continuam suavemente”: 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 panel tells you along how many more edges that happens.
• “Manter o tamanho da aresta ao redimensionar” keeps the chamfer or fillet as large as it is, even if you scale the body later.
• “Qualidade da prévia” (“Rascunho”, “Padrão” or “Fina”) decides how finely the preview is calculated. For difficult parts “Rascunho” is faster.

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 panel 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.

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

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 “Desfazer um tratamento de aresta” you see what is already on it. “Desfazer” takes back a single treatment. Note: if newer treatments lie on top, they go with it, and the panel tells you how many.

Next to a chamfer, a fillet or a hollowing there is also “Editar”. 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. “Desagrupar” 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.

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 “Vazar” does.

1. Select the body and click “Vazar”, or right-click the body and pick it from the menu.
2. Set the “Espessura da parede”.
3. Under “Lados abertos”, switch on the sides that stay open: “Em cima”, “Embaixo”, “Frente”, “Trás”, “Esquerda” or “Direita”, as many as you like - “Frente” alone makes a slot for a drawer, “Esquerda” and “Direita” a tunnel. With no side switched on the body stays closed all round, with a cavity in the middle. “Fechado (cavidade interna)” switches every side off in one click. “Em cima” is already on when the panel 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 “Arestas internas” should be “Arredondadas” or “Vivas”.
5. Click “Vazar”.

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

The “Arestas internas” 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. Spheres and free-form shapes therefore 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.

Deleting faces

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

1. Select the body and click “Excluir face”, 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 panel counts the faces.
3. Click “Excluir” 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 “Desfazer um tratamento de aresta” with the fillets and chamfers, where “Desfazer” takes it back; there is no “Editar” 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.

“Excluir face” 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.

7. Sketches: from outline to body

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

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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 “Editor 3D” to “Esboço”. In the “Criar” group of the ribbon, three buttons stand side by side for what the outline should become:

• “Extrusão do esboço”: The outline is pulled upward, like a cookie cutter.
• “Revolução do esboço”: The outline is spun about an axis, as on a lathe. That gives vases, cups, cones and everything round.
• “Varredura do esboço”: 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.

Drawing

The ribbon in sketch mode is divided into areas:

• Draw: “Linha” makes straight sections: click points one after another; holding Shift snaps the new line in 15° steps, horizontal and vertical included. The length and angle of the new line show at the pointer. You can also type how long it should be, see Lines by numbers. “Arco” draws a true circular arc through three points: click its two ends first, then 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 “Selecionar”. After that the arc is ordinary geometry made of points and curves: move, cut or erase it like any other line. The “Curva de Bézier” is shaped with its handles: 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. Dragging while you place a point bends the curve; if you come from Tinkercad and just want to click points, take the “Curva suave”. The “Curva suave” lays a flowing path through the points you click. To close the outline, click the first point again at the end. To end the chain of lines without closing the outline, right-click without moving the pointer, or double-click the last point.
• Shapes: “Adicionar forma ao esboço” offers ready-made outlines: “Retângulo”, “Círculo”, “Oval”, “Semicírculo”, “Fatia”, “Furos em círculo” (a disc with holes), “Triângulo”, “Hexágono”, a “Polígono” and a “Estrela”. Click one to put it at the origin of the sketch, or drag it from the menu to where you want it. At the bottom of the menu, “Lados / pontas” sets the number of sides of the polygon and of points of the star, and “Medida interna da estrela” how deep the star's valleys reach in towards the middle (10 to 90 percent of the outer radius); both apply to the next shape you add. Like every sketch shape they are ordinary corner points afterwards, so you can move, round or chamfer them one by one.
• Overlapping: Push two closed outlines over each other and they stay two bodies, which merge in the 3D editor; the overlap is not a hole. A hole only comes from an outline lying wholly inside another. Moving does not join the lines where they cross, so you can pull the shapes apart again. If you draw a line across others, though, layerling puts a point at every crossing.
• Selection: “Selecionar” moves points and lines. A click inside a closed outline selects the whole outline, so you can drag or resize it straight away; inside a hole it picks the hole. The frame around the selection has eight handles: the corners change width and height together, keeping the proportions while you hold Shift. The ones on the sides change one direction only. “Manter proporções” in the bar that appears keeps the proportions without Shift: the corners and sides then stretch both ways alike, and a typed width or height changes the other one too. layerling remembers the switch. “Bloquear” next to it locks the selected outline, like a locked body in the 3D editor (L does the same): it can no longer be moved, resized, turned or changed, its lines turn paler and the frame loses its handles. Lines may still start at its corners. “Desbloquear” or L again frees it. The round handle above the frame turns the whole selection about its middle: the figure over it shows the angle, and with Shift held it moves in steps of 15°. R turns a whole closed outline by 45° at each press. Click the width or height pill to type a new size, also as a sum ("60+12.5") or in percent ("150%"). With Shift held, a click on a point or line adds it to the selection or takes it away again, so you can pick several and move them together. Drag a box over empty space to select everything in it. A line can be dragged too (it moves 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, and Shift held while you drag keeps the move on one axis. “Adicionar ou remover pontos”: a click on a section adds a point, a click on a point removes it. Also there are “Apagar” (a click on a point or line takes it away, a window dragged over several takes away everything inside it, and with something selected the button erases the selection) and inserting a template image (“Adicionar imagem”). When you remove a point, layerling joins its two neighbours so the outline stays closed. At a crossing, such as where a line cuts a circle, the sides that run straight on are joined: arc with arc, line with line, and the circle stays round. To get rid of only a piece of a circle, for a rounded corner say, click exactly that piece of arc between two points with the eraser; the rest stays.
• Clipboard: “Copiar”, “Colar”, “Duplicar” and “Excluir” work on the selected points, lines and images, as in the 3D editor; Ctrl+X cuts. Pasted and duplicated geometry lands next to the original with a 10 mm gap, on a free spot where it touches no existing line, so it never gets joined to what is already there. It stays selected, so you can drag it straight into place.
• History: “Desfazer no esboço” and “Refazer no esboço”.
• View: Pan it with the middle mouse button or with Shift or Ctrl plus the right mouse button, as in the 3D editor. Home fits the whole sketch in the view, F zooms to the selection (with nothing selected, to the whole sketch), and + and − zoom in and out, as in the 3D editor. The “Trena” on the side bar measures the distance between two points. The sketch also shows dimensions as soon as you click something: the length of a line, or for a point the lengths of the lines that meet there. The “Mostrar medidas” button on the side bar hides and shows these dimensions when they get in the way, for example while shaping curves; the tape measure keeps working. On a straight line you can click the dimension pill and type the length in millimetres; Enter applies it, Esc cancels. The line keeps its direction, its start point stays where it is, and the lines at the other end follow. With an end point selected, that one moves. Alt+Enter grows the line to both sides around its middle. On curves the pill only shows the length.

A body comes only from a closed outline.

The keys 1 to 4 pick the drawing tools, in the order of the bar: “Linha”, “Curva de Bézier”, “Curva suave” and “Adicionar ou remover pontos”. They work as long as no line is being drawn; while one is, the digits are its length (see below).

Lines by numbers

Once you have set the first point with “Linha” or “Curva suave”, just type a number: two fields open next to the line, “Comprimento” in millimetres and “Ângulo” 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 “Curvar linha” 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. “Linha reta” makes the side straight again. A point you select can be made round with “Curva suave”: it gets handles of its own and the lines next to it become curves. 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.

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.

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 “Mostrar medidas” button on the side bar hides the angle together with the lengths.

Rounding or chamfering corners

Click a corner point and choose “Arredondar canto” or “Chanfrar canto”. A small field appears for the “Raio” or the “Distância”. 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 “Arredondar canto” or “Chanfrar canto” 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 “Curvar linha” and “Linha reta” 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 “Espelhar” in the bar. Then choose the axis: “Esquerda-direita” mirrors across the vertical axis through the middle of the plate, “Cima-baixo” across the horizontal one, and “Por uma linha” 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 “Linha de construção” in the “Desenhar” 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 “Construção”. “Transformar em linha” 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.
• “Linha a partir do meio” in the “Desenhar” 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 “Concluir esboço”. 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 “Mostrar no plano do esboço todas as arestas das peças ao fundo” (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 “Editar esboço” 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); “Clique duplo abre o esboço” in the settings switches that off. Edge treatments you already made on the body are lost, though, because the edges are created anew.

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 “Separar peças”: 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, “Esboço de extrusão”, “Esboço de revolução” or “Esboço de varredura”. 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 “Esboço de revolução”. 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. The outline must be closed, or you build an open line as a stroke, see below. At the end click “Concluir revolução”. 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.

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 “Editar esboço” 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.

One continuous strand: “Passo”. A revolve turns its outline into closed rings. Select the revolved body and give it a “Passo” 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. “Abertura” then becomes “Voltas”, 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 “Lados” low on many turns. A pitch of 0 makes rings again.

Sweeping along a path

“Varredura do esboço” 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 “Extrusão do esboço” and “Revolução do esboço” in the “Criar” 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. The section is centred on the path, and the body stands on the sketch plane with the lowest point of the section.

• The path as a “Linha de construção”: 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 “Concluir varredura”. 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 “Editar esboço” 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 “Traço” in the “Concluir” section you build the line itself instead, with a width you set. Tick “Construir como traço” in the panel; the sketch shows straight away what comes out.

• A closed outline becomes a frame. “Posição” says where the wall lies: “Centralizado” on the drawn line, “Interno” within it or “Externo” 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. “Pontas” sets how its ends look: “Retas”, “Quadradas” (longer by half the width) or “Redondas”.
• “Cantos” applies to both: “Vivos”, “Redondos” or “Chanfrados”.

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 “Traço” 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 “Área”, “Traço externo”, “Traço interno” or “Traço centralizado” under “Preenchimento”, with “Largura da linha” and “Cantos”. 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. “Mais largo” 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. “Mais estreito” 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 “Mais estreito” 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 panel the same two choices stand under “Posição”.

“Silhueta (sem furos)” leaves out every outline lying inside another: holes and whatever lies in them. Only the outer outline stays. Together with “Traço externo” 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 “Traço” panel in sketch mode as well.

Fillets and chamfers on the edges go when the body is built again, as when the sketch is edited.

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 “Afunilamento” 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 “Silhueta (sem furos)”, so the hole is filled, and give it a wider bottom than top with “Afunilamento”.
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 “Orifício” and give it a narrower bottom than top with “Afunilamento”.
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 “Adicionar imagem” you put a photo or a drawing under the sketch and trace it. You can set its size, opacity and position. Once the picture sits right, lock it with 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. To select it again, for example to unlock it, Alt+click 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 “Alinhar” you line up a photo that was not taken straight:

• “Rotação”: Turn the picture about its centre, with the round handle above its frame or as a number in degrees. With Shift the handle snaps in 15° steps.
• “Para X = 0” and “Para 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.
• “Calibrar”: 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.
• “Recortar”: The handles on the frame now crop the picture instead of scaling it; what is cut away stays stored and comes back with “Mostrar imagem inteira” or when a handle is pulled out again.

All four touch the reference only, never the sketch.

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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

Adding text

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

• “Fonte”: 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.
• “Tamanho das letras”: How big the letters are, seen from above; “Altura” sets how thick they are.
• “Altura”: How far the lettering stands out from the surface.
• “Bisel”: Rounds the letter edges so they look softer. With “Segmentos” you decide in how many steps.
• “Borda das letras”: rounds or chamfers the top edge of the letters, as on a name tag: “Nenhuma”, “Arredondada” or “Chanfrada”, with the “Tamanho da borda” (0.4 mm to start with, at most as high as the text). It goes further than the “Bisel”, 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 “Bisel”.
• Size: You set the length and width of the line as with any shape. Drag the handles or type the dimensions.
• “Espaçamento entre letras (%)”: 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.
• “Esticar as letras até a moldura”: 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.

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

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

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 “Suas próprias fontes …” at the bottom of “Fonte”. The “Suas próprias fontes” window opens.

• “Escolher um arquivo de fonte …” 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 “Suas próprias fontes” 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.
• “Fonte do computador …” 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 “Fonte” in the “Suas próprias fontes” group, and “Usar” 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, “Fonte do computador …” 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 “Suas próprias fontes” 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 “Formas personalizadas”.

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 “Fonte” the font is then marked “só as letras do projeto”. 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 “Orifício”, 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.

Outline, silhouette and wider

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

• “Preenchido”: the letters as they are.
• “Contorno”: a line along the outline of the letters, half inside and half outside it.
• “Linha externa”: a line round the outside of the letters.
• “Linha interna”: a line on the inside of the letters.

With a line chosen, two settings appear right under the list: “Largura da linha” sets how thick the line is, “Cantos” how it goes round the corners (“Redondos”, “Chanfrados” or “Vivos”). The rarer settings are under “Mais”: “Silhueta (sem furos)” leaves out the holes in O, A or e, and “Mais largo (base para impressão multicolorida)” 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. “Bisel” and “Segmentos” 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 “Etiqueta de nome” 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 “Criar camadas” at the top of its settings.

All settings of the tag are in the card “Etiqueta de nome”, at the top of the settings:

• “Texto” and “Fonte”, fonts of your own too. The tag grows with the words.
• “Tamanho das letras”: how tall the capital letters are, in mm. All layers follow and stay lined up.
• “Camadas”: 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 “Sem furos”, which fills the holes in letters such as O and A. “Cantos” sets how a wider layer goes round the corners of the letters: “Redondos”, “Chanfrados” or “Vivos”. 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.
• “Furo para chaveiro”: 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 “Diâmetro do furo” and the “Lado”: “Esquerda”, “Direita” or “Em cima”. “Livre” takes the hole off the tag and puts a “Aba para chaveiro” 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, “Fixar na etiqueta” in its panel 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. “Livre” 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. “Posição ao longo do lado” 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.
• “Borda das letras”: rounds or chamfers the top edge of the letters on the top layer, the way a printed tag is finished: “Nenhuma”, “Arredondada” or “Chanfrada”, with the “Tamanho da borda” (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 “Editar conjunto” and pick the layer, see Breaking edges and hollowing bodies.

Many name tags at once

Type the names into “Lista de nomes”, 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 “Etiqueta de ícone” in the shape library. A small window opens: click “Procurar…”, pick an SVG, PNG or JPG file, check the picture, type the “Largura (mm)” of the icon and click “OK”. 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 “Criar camadas” at the top of its settings.

The card “Etiqueta de ícone” at the top of the settings holds:

• “Outro arquivo…”: puts the icon of another file (SVG, PNG or JPG) on the tag; the layers and the width stay as they are.
• “Largura”: how wide the icon on top is, in mm. All layers follow and stay lined up.
• “Camadas”: the rows as on a name tag - colour, how much wider, “Cantos”, height and “Sem furos”, + and –, two to six layers. The top row is the icon itself.
• “Furo para chaveiro”: 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. “Diâmetro do furo” and “Lado” choose its size and where it sits; “Livre” 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. “Posição ao longo do lado” moves the tab along its side, as on the name tag.
• “Quantidade”: how many tags you want, 1 to 100. “Quantas couberem” 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 “Contornado a partir de” you choose whether the “Parte escura” or the “Parte clara” 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. “Outro arquivo…” 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 “QR code” in the shape library. A window opens; the cursor is already in the text field:

• “Texto ou endereço”: 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.
• “Correção de erros”: 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.
• “Construir como”: “Só o código” makes the code alone, 4 mm high. “Em relevo sobre uma placa” 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. “Gravado” cuts the code 1 mm deep into the plate.
• “Tamanho por”: type the “Largura” 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.
• “Zona de silêncio (4 módulos)”: 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. “OK” 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 “QR code” at the top of its settings holds the text. Change it and click “Criar de novo”: 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 “Em arco”.

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 four settings:

• “Raio do arco” (5 to 500 mm): The radius of the circle the letters' baseline runs on.
• “Tamanho das letras”: How tall the letters are. It no longer depends on the width of the shape.
• “Pela parte de baixo”: Moves the text from the top of the circle to its bottom. The letters then point with their heads to the centre.
• “De cabeça para baixo”: 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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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 “Rosca” in the shape library. Under “Tipo” you decide what it should be:

• “Barra roscada”: a cylinder with thread, for example a screw without a head.
• “Parafuso”: with a head. You choose the “Cabeça”: “Cabeça cilíndrica (Allen)”, “Cabeça escareada” or “Cabeça sextavada”.
• “Porca”: the matching nut.
• “Furo roscado”: a tapped hole. It is a hole. Drag it into a part, group both, and the part has an internal thread.

You pick the size under “Tamanho” 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 “Personalizado”, you set “Diâmetro” and “Passo” yourself. For an inch size or a G size the field asks for “Fios por polegada” 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.

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 “Triangular (ISO)”. A “Trapezoidal” or “Redonda” 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.

More settings:

• “Sentido”: “Rosca direita” or “Rosca esquerda”.
• “Perfil”: “Triangular (ISO)” is the standard profile of metric and inch threads, “Whitworth (55°)” that of the G pipe threads: 55° with rounded crests and roots. “Trapezoidal” and “Redonda” have flat crests and roots. That usually prints more reliably because no thin tips result.
• “Personalizada (trapézio)”: A trapezoid you shape yourself, with a flat crest and a flat root of the same width. “Ângulo do flanco” 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. “Profundidade da rosca” and “Diâmetro do núcleo” 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.
• “Folga (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.
• “Folga ao longo do eixo (Z)”: For nut and tapped hole, the play along the axis, on top of the “Folga (XY)”. Every tooth of the nut gets this much thinner, the diameter stays as it is. The reason: the “Folga (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".
• “Chanfro, ponta superior”, “Chanfro, ponta inferior”, “Chanfro da cabeça” and “Chanfro da borda”: 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 “Chanfro”. 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 “Barra roscada” and “Furo roscado” keeps its length. A nut and a screw start from their standard measures.

• “Qualidade”: 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 (“Folga (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 (“Folga ao longo do eixo (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 “Trapezoidal” 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 “Trapezoidal” and “Redonda” 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

“Engrenagem” comes as “Engrenagem reta”, “Engrenagem helicoidal”, “Engrenagem espinha de peixe” and “Engrenagem cônica”, and as “Coroa interna” and “Cremalheira” (further down). New gears have “Evolvente” under “Forma do dente”: teeth with involute flanks, as gear generators and engineering use them. Such teeth roll cleanly on each other. You set the number of “Dentes” (6 to 150) and the “Módulo (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 “Ângulo de pressão” (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 “Ajustar o módulo das duas” gives both gears that module in one step; each keeps its teeth, height and centre hole. 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. “Folga entre dentes” 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 “Ângulo da hélice”. 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 “Engrenagem espinha de peixe” 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 “Ângulo da hélice” and the “Qualidade da hélice” 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 edge tool and the STEP export take the herringbone gear as a triangle mesh, not as an exact body.

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.

“Redondo” 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 “Dentes”, “Módulo (mm)” and “Folga entre dentes” 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.

“Simples” are the straight teeth every gear had so far. There you set “Tamanho do dente” and “Largura do dente” by hand. Older designs keep them until you change the tooth shape. All three tooth shapes have the “Furo central”.

The “Coroa interna” 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 “Dentes”, “Módulo (mm)” and “Folga entre dentes”, plus the “Aro”, 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 “Cremalheira” 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 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. 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. A helical gear's teeth 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.

Springs

The “Mola” has “Voltas” and a “Arame”. Together with the height they decide how soft the spring is. “Enrolamento” sets which way the wire runs: “Enrolamento à direita” like a usual compression spring, or “Enrolamento à esquerda”.

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.

Bent tubes

A “Tubo curvado” consists of up to twelve sections: a straight piece followed by a bend. For each you set the “Comprimento reto”, the “Ângulo da curva”, the “Raio da curva” and the “Ângulo de giro”. 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 “Transição” 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 “Contorno inferior” and “Contorno superior”: “Círculo / elipse”, “Retângulo” with “Raio dos cantos inferiores”, or “Polígono” with its number of corners, plus the width and length of each end and the height. “Deslocamento do topo na largura” and “Deslocamento do topo no comprimento” move the top end sideways for a slanted transition; the bottom end stays where it is.

“Espessura da parede (0 = maciço)” 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.

“Transição suave (%)” 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 “Espessura da parede (0 = maciço)”, 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.

“Torção” turns the section evenly about the vertical on the way up, up to 360° either way; the sides then wind round. “Inclinação do topo, frente/trás” and “Inclinação do topo, esquerda/direita” 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.

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 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. Under “Tipo” you choose:

• “Caixa”: a bin with a foot under every grid unit. “Unidades na largura” and “Unidades na profundidade” count grid units of 42 mm (a bin is 0.5 mm smaller, 41.5 mm for one unit); “Unidades na altura” counts height units of 7 mm, up to 20. The “Borda de empilhamento” 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 “Furos para ímãs” every foot gets a hole for a 6 × 2 mm magnet in each corner.
• “Base”: 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.

The size 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); a drag on a handle snaps to the nearest unit. 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 wall and the depth of the holes are fixed, and the floor can be raised (see below). 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, round or chamfer it with the edge tool. Bin and baseplate 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 (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 “Grade de meio tamanho (21 mm)”, and then “Unidades na largura” and “Unidades na profundidade” 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 “Grade de meio tamanho (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 “Furos para ímãs” 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 “Apoio de etiqueta atrás”, “Apoio de etiqueta na frente”, “Apoio de etiqueta à esquerda” or “Apoio de etiqueta à direita”, in any combination. Each shelf that is on gets its own “Largura do apoio”, “Comprimento do apoio” and, for a shorter shelf, “Posição do apoio”; 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.

“Largura do apoio” 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 “Comprimento do apoio” at 0 a shelf runs from wall to wall. A shorter one, at least 10 mm, brings up “Posição do apoio”, 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 “Redondos” or “Chanfrados” under “Cantos do apoio”, and the size with “Tamanho do canto” (2 mm; 0 leaves it sharp). With “Redondos”, 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 “Curva para os dedos atrás”, “Curva para os dedos na frente”, “Curva para os dedos à esquerda” or “Curva para os dedos à direita”, 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, “Raio da curva” 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: “Altura do fundo” 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 it goes up to 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; 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 has no room to raise its floor and shows no field for it. A raised floor is not part of the specification either.

A bin can also be divided into compartments without grouping walls into it: under “Compartimentos”, just below “Propriedades”, “Colunas” and “Linhas” 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. “Espessura da divisória” 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 “Entre colunas” or “Entre linhas”, counted from the left or from the back, and set its “Posição”, 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 “Raio da curva” 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 “Linha” and “Coluna” (each shown when there is more than one), and under “Apoio de etiqueta” 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. “Comprimento do apoio (%)” 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 “Posição do apoio”: “Esquerda”, “Meio” or “Direita” on a back or front side, or “Trás”, “Meio” or “Frente” on a left or right side. “Largura do apoio” 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 “Cantos do apoio” and “Tamanho do canto” under “Propriedades” apply to them as well.

Hinge

The “Dobradiça” 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 “Comprimento (eixo)”, the “Largura aberta” and the “Diâmetro do nó”, plus the number of “Nós” (odd, so the pin is held at both ends), the “Diâmetro do pino” and the “Espessura da aba”.

“Folga” 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. 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, switch on “Sem pino (use o seu)”: the printed pin is left out and the bore, the pin diameter plus the clearance, runs through every knuckle, the ends included. You can add holes to the leaves or group them into a larger part, such as a lid.

Knurling

The “Serrilhado” is a round grip with grooves all around, for knobs, thumb wheels and tool handles. Under “Padrão” you pick “Reto”, grooves along the axis as on a control knob, “Cruzado”: two slanted rows of grooves cross into small diamonds, or “Redondo”: 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 “Diâmetro” and the “Altura”, the number of “Ranhuras” and the “Profundidade da ranhura”; for crossed knurling also the “Ângulo da ranhura” to the axis. The “Chanfro nas pontas” 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 “Rosca” 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 “Rabo de andorinha” 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 “Largura do pescoço” and the length of the tail. Copy the tail for the other side and make the copy a hole: “Folga como orifício” 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 “Furo em gota” therefore has a point on top: every layer rests on the one below, and the hole comes out round enough without supports. Set the “Diâmetro (parte redonda)” to the size of the hole, about 3.4 mm for an M3 screw, and the “Comprimento do furo” long enough to reach through the part. The “Ângulo da ponta” 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 “Furo em gota” hole whose “Diâmetro (parte redonda)” 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 “Alinhar” 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.

Counterbore and countersink

A screw head often should not stand proud. The “Rebaixo” cuts a round pocket for a socket-head screw (DIN 912), the “Escareado” a cone for a countersunk screw (DIN 7991). Both stand with the head end up: the “Diâmetro da cabeça” is the diameter of the pocket or the cone, the “Diâmetro do corpo” the bore below it, the “Comprimento total” the whole length. On the counterbore you set the “Profundidade da cabeça”, on the countersink the “Ângulo do cone” (90° suits countersunk screws). The defaults fit an M3 screw.

The “Escareado duplo” 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 “Escareado” and switch on “Dos dois lados” in its properties (bodies that are a double countersink already show the switch on): a cone at each end opens to the “Diâmetro da cabeça”, with the “Diâmetro do corpo” between them. You set the “Ângulo do cone” and the “Comprimento total” 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 “Polígono” with six sides as a hole.

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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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 “Medir”.

The tape measure

The tape measure sits at the lower end of the camera bar on the left edge (“Trena”). 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. “Adicionar medida”: Click one point, drag to the next and click it. The distance is labelled. 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.
2. “Mover pontos da medida”: Grab the points and move them, the number follows.
3. “Excluir parte da medida”: Afterwards click a measurement to remove it. While “Adicionar medida” 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. “Medir arestas inteiras”: A click on an edge measures all of it, the length of a circle for example. 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. “Excluir todas as medidas”: Removes every measurement at once. Because this cannot be undone, layerling asks first; with no measurements there is nothing to do.
6. “Marcar o meio como ponto de referência”: Under the number of every measurement sits a small crosshair button. 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.

Esc leaves measuring mode.

The ruler

You fetch the “Régua” 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. The floating plus symbol creates a copy of the measured shape. Its printed scale is in millimetres; once the unit is switched to inches (the switch at the bottom right), it is in inches, with a line every sixteenth of an inch and the whole inches numbered.

The framing square

Sometimes you measure better at a right angle. Click “Posicionar esquadro” in the camera 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 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.
• 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. That works on the base plate only, not on the side of a body.

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. They are not saved with the design and not in the history, and they go when you reload the page.

Distances to the origin and while moving

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

• “Mostrar dimensões do deslocamento” shows by how much you move while dragging.
• “Mostrar distâncias até a origem” shows the distances of the selection to the origin of the plate, also with several selected bodies.

With “Dimensões sempre visíveis” the dimensions stay visible permanently.

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 “Anotação” 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 (“No plano de trabalho”).
• “Soltar do objeto” releases an attached note from the body.
• “Grupo de união” takes an attached note into the group; “Desagrupar” hands it to the visible part under it, a group inside included. While a group is open with “Editar grupo”, its notes move with the part under them and go back to the group with “Concluído”; 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.

Notes are saved in the design, appear in no export and can be shown or hidden with “Mostrar anotações e pontos” (in “Opções de visibilidade”, the arrow beside the eye icon).

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 “Marcar o centro”, “Marcar os cantos” or “Marcar os meios das arestas”: the points appear on the top face of the body (of the whole selection, if you selected several).

• Drag a point to move it, 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. “Excluir” removes it.
• The tape measure can mark a point too: “Marcar o meio como ponto de referência”, the crosshair button under 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 (“Encaixar em outras formas ao mover”). 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 “Mostrar anotações e pontos”.
• An AI can mark, list and remove them with layerling_add_reference_points, layerling_list_reference_points and layerling_remove_reference_points.

11. Preparing for 3D printing

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

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

Choosing your printer

Open the settings (the cogwheel in the ribbon, “Configurações da área de trabalho”) and switch to the area “Plano de trabalho”. Under “Impressora” you pick your printer from a list of over 220 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 “Textos na mesa” under “Plano de trabalho”; that also goes for the design's name at the front left.
• layerling warns when something does not fit.

The printer profiles come from OrcaSlicer, so they are the same ones your slicer knows. If you would rather work without a printer, choose “Sem impressora - tamanho livre”. You can also set the size of the workplane by hand.

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 “Dividir” 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 “Organizar” area help:

• “Deitar sobre a face”: click a face and the part lies with that side down. The best print direction in one click.
• “Baixar até o plano de trabalho” (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 (“Visibilidade”), 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 “Deitar sobre a face”, and the hatching follows at once.

How steep your printer manages is set in the settings under “Aparência”: 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.

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").

When you are ready

Choose “Exportar” 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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

Where your designs live

layerling saves everything in the browser on your computer. There is no account and nothing is uploaded. 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 “Página inicial”. 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. “Sim” or Enter keeps it, “Não” removes it, so empty designs do not pile up. For a design in a shared folder on a server, “Não” 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.

Folders for your designs

With dozens of designs a single list is not enough. On the start page, “Nova pasta” 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 “Mover para …” 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 “Projetos” 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.

“Fazer backup de tudo” 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. With “Fazer backup de tudo” you pack all designs into one single file. “Restaurar backup”, next to it in the notice about designs kept in the browser (it is there on a new computer with no designs, too), brings them back, also in another browser or on another computer; “Abrir um projeto ou importar geometria” takes the same file. The “Formas personalizadas” of this browser 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.

You back up a single design in the editor: “Exportar”, choose the format LYL and click “Salvar projeto do layerling”. 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 “Histórico de ações salvo” you choose how many of the last steps travel along; it starts at what the settings (the cogwheel in the ribbon) keep under “Histórico”. The last stop, “Nenhum”, 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 “Nome do arquivo” 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 “Abrir um projeto ou importar geometria” 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.

Exporting

Click “Exportar” or press Ctrl+E.

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 “Selecionar tudo” 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.

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.

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. What cannot be written exactly, such as a mesh imported as STL, is left out. The message after the export names those bodies and says why. For the printer, use STL or 3MF, which carry everything.

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 “Material” 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 “Preenchimento” (15 % to begin with) and the “Paredes” (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.

Importing

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

• “Abrir projeto do layerling”: A layerling design (.lyl, or an older .skf) comes back as a new design.
• “Inserir neste projeto”: 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.
• 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. 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 “Preenchimento”, an area or a stroke outside, inside or centred, and “Silhueta (sem furos)” 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: manter o lugar na página do desenho” in the import window before you import them: each keeps its place on the page, where otherwise each is centred on itself. 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.

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. “Simplificar malha” 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 “Simplificar” takes the lighter mesh. The result is a plain mesh: for the result of a cut or merge, “Editar grupo” and its original parts are given up.

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 (“Cortar malhas importadas de até”). 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.

Reporting a bug

If layerling does something unexpected, save a “Relatar erro”: 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. On the start page it then appears as “No servidor”. 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 server tile, or with “Enviar para o servidor” in the card's menu. A backup you open lands in this browser first, like any design you open; put the designs on the server from there. 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: “Enviar tudo para o servidor” on the start page puts every design of this browser on the server in one go, and ticking “Novos projetos no servidor” makes every new design start in the server folder, so it is saved there from the first change on. 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.

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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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, “Atalhos de teclado” in the “Ajuda” area opens the same list as a window. The printer button in the window (“Imprimir ou salvar como 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.

Command search

Can't find a tool? Press Ctrl+K or click the magnifying glass in the “Ajuda” 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 “Vazar”.
• Every entry shows the keys that do the same and the area of the toolbar 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.

• 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.
• It works in sketch mode as well, with the sketch tools.

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 “Ajuda” 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 “Abrir no guia”.
• 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.
• “Abrir no guia” 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 “Pesquisar no guia”.
• 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.

Seleção

Área de transferência

Histórico

Arquivo

Agrupamento e visibilidade

Dando forma à seleção

Mover e girar

Vista e plano de trabalho

Ajuda

Modo de esboço

Chanfro e arredondamento

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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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.

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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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.

On the start page a hint with “Instalar agora” 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 “Ocultar esta dica”. 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. On Android this does not work, there the browser offers no file association for installed web apps; open a design with “Abrir um projeto ou importar geometria” on the start page.

Updates

When a newer version exists, layerling shows it on the start page. Through “Notas da versão e download” 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. “Salvar e recarregar” writes the design you have open into the browser first and then loads the page again; the design comes back as you left it. “Depois” 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 “Continuar trabalhando aqui” 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 “Sistema” (follows the operating system), “Claro”, “Escuro” and “Grafite”, 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 “Ajuda” area holds the “Guia rápido” 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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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.

• I'm 100% In on Layerling - The Next Big Free CAD – Printology (English). A first test by a Tinkercad user: what layerling does better than Tinkercad, what still needs work, and whether to switch now.
• 10 Things Layerling Can Do That Tinkercad Can't! – Print N Repeat (English). A second video by this channel: ten things layerling can do that Tinkercad cannot.
• Layerling la nueva herramienta gratuita de modelado 3D, más completo que Tinkercad – Fulcro 1900 (Spanish). A video about layerling as a new free 3D modelling tool that is more complete than Tinkercad.
• Layerling - Tussen Tinkercad en Fusion 360 in, en Helemaal Gratis! – Werkplaats Marc (Dutch). A first look at layerling for Tinkercad users: hollowing, fillets, the hole pattern, threads with clearance, custom fonts and printer profiles, with a bolt printed with and without clearance to show the difference.
• Layerling – TECHNOBENTO (English). A playlist about layerling, so far with “A new way to sketch in Layerling”.
• The PERFECT FREE CAD Program Between Tinkercad and Fusion 360! – Print N Repeat (English). A video about layerling as a free CAD program between Tinkercad and Fusion 360.
• 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.
• 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.

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.

Este capítulo ainda não foi traduzido para o português. Segue o texto em inglês.

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, “Selecionar vários” 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 “Grupo de união”, “Alinhar” or a move work on all the bodies you picked.

The same menu has “Colocar sobre uma face”, 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 “Girar a vista com um dedo” in the camera 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.

If bodies slip when children or hurried hands touch them, switch on “Selecionar antes de mover” 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. 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: “Fazer backup de tudo” on the start page packs all designs into one file.
• Files. Safari lets a page write into a file only through a download, so “Exportar” 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.

Workshops with children

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