How thick each slice of plastic is. Thinner means more detail and more time; thicker means a faster print with more visible steps.

How thick the layer that sticks to the bed is. A little thicker forgives an uneven plate and grips better.

For mixed-color filament: it splits each layer into thinner sublayers that alternate colors, so the blend looks more even. If you don't use that feature, it does nothing.

Where each wall loop starts and ends. That spot leaves a mark; this setting chooses whether you line the marks up, scatter them or send them to the back.

On flat top faces it uses a single wall instead of the usual ones, so the surface pattern covers more area and the top looks more even.

The first layer gets a single wall and the rest is solid infill. It's for bases with fine details, where a second wall would eat into the design.

How many loops of plastic make up the shell of the part. More walls give more strength and more weight, without touching the infill.

The pattern the lines make on the top face of the part, the one people see most. “Monotonic line” gives the smoothest top; the other patterns are faster or decorative.

How many solid layers close off the top of the part. With too few, the top sags and you can see the infill pattern through it.

The minimum thickness, in millimeters, of the solid layers on top. If the layers you asked for don't reach that thickness, the slicer adds more, so the top doesn't end up too thin with very low layers.

When you paint a top face a different color with the paint tool, this sets how many layers down that color goes. It only matters in multicolor prints.

The pattern the lines make on the face that touches the plate. On a textured plate you barely notice it; on a smooth plate, “Monotonic” gives the most even face.

How many solid layers make up the base of the part. With too few, the infill shows from below and the base is weak; with a lot, it takes longer and gains almost nothing.

The minimum thickness, in millimeters, of the solid layers at the bottom: if the layers you asked for don't reach it, more are added. It's set to 0, so by default only the layer count matters.

When you paint a bottom face a different color, this sets how many layers up that color goes. It only matters in multicolor prints.

The part isn't closed on top or bottom: the infill pattern runs all the way to the faces. It's a texture effect meant for the “Locked Zag” pattern.

The pattern of the solid layers nobody sees: the ones under the top, above the base, and in small areas that get filled completely. “Rectilinear” is the fastest, and no one will see it.

How much of the inside of the part is filled with plastic. 15% already holds up most parts; 100% is almost never worth it.

Prints each infill line as a group of several lines of plastic side by side. At the same density, the infill's inner walls come out thicker and the part stiffer.

The shape the plastic draws inside the part. At the same percentage, each pattern changes strength, time, noise and how well it supports the top; there's no single best one.

With the “Locked Zag” pattern: the infill pattern in the skin, the band of infill right against the walls. The skeleton, further in, has its own.

With the “Locked Zag” pattern: the infill pattern in the skeleton, the central zone away from the walls.

The hard limit, in millimeters, for infill anchors. At 0 nothing is anchored and every line ends loose.

The main switch for supports: throwaway scaffolding printed under the parts that hang in the air. Without it, whatever sticks out too far falls; with it, the print takes longer, uses more plastic and leaves marks when you remove it.

Whether the support is straight columns (“normal”) or branches that dodge the part (“tree”), and whether the slicer decides where it goes (“auto”) or it only goes where you paint it (“manual”).

The slope at which a downward-facing face starts getting support. The angle is measured between that face and the horizontal: at 30°, faces flatter than 30° get support and steeper ones print on their own.

Support only grows from the plate and never rests on top of the part. Faces stay cleaner, but overhangs that could only be held up from the part itself are left without help.

Which filament prints the support body and the raft. “Default” uses the same one as the part; a different filament makes sense for soluble support or to use up a cheap one.

Which filament prints the support layers that touch the part. With a support filament (or a soluble one), the support comes away almost by itself and the underside comes out smooth.

Keeps the special interface filament from also being used in the support body, even when the slicer would like to use it to save a filament change.

How many loose loops the nozzle draws around the part before starting it, so the plastic is flowing evenly when it gets there. At 0 there's no skirt.

How many layers tall the skirt is. At 1 it's just a purge line; with several it becomes a low wall that shields the base of the part from cold air.

Whether a brim (a flat, one-layer band stuck to the base of the part) is added and where: automatic, outside, inside the holes, on painted corners, or none.

How far the brim (a flat, one-layer band around the base) extends from the part. Wider, the part grips the plate better, but it uses more plastic and is harder to clean up.

A throwaway tower where the nozzle gets rid of leftovers from the previous color after each filament change. With several colors, it's what keeps the colors clean.

The horizontal size of the prime tower. Wider, it's more stable and has more room for purging, but it uses more plastic and takes up more space on the plate.

Use the mixed plastic from each color change to print the part's inner infill, which nobody sees. Less tower and less waste.

Print this part with the transition plastic from the others: it comes out with stripes of mixed colors, but with almost no waste.

Use the mixed plastic from each color change to print the support, which goes in the trash anyway. On by default.

With several parts on the plate: print them all at once, layer by layer, or finish one completely before starting the next.

Print the part with a single wall that climbs in a nonstop spiral: no seam, no infill and no top. Perfect for vases; useless for almost everything else.

Also smooth out, sideways, the step from one turn of the spiral to the next, so vases with irregular shapes show no mark at all.

How the photo of each layer is taken for the video: as is (instant) or moving the toolhead aside and cleaning it on a tower afterwards (smooth). The timelapse itself is turned on when you send the print.

Make the nozzle jitter while printing the walls so the surface comes out rough and matte, like stone or leather. It hides layer lines and the seam, but dimensions drift a little.

Whether the texture is made by moving the nozzle sideways (displacement), by varying how much plastic it pushes out (extrusion), or both.

The random “pattern” that makes up the texture: fine, even grain (classic), gentle waves (Perlin), bumps (Billow), marble-like ridges, or mosaic-like cells (Voronoi).

How many millimeters apart the nozzle changes direction while making the texture. Closer means finer grain and more time; farther apart means coarser grain.

How far the nozzle strays to each side of the path, that is, how deep the texture is. Keep it below the line width or you'll get gaps.

Apply the texture to the first layer too. It's usually left smooth so it sticks well to the plate.