[{"t":"3D Printer Enclosures and Air Filters: What They Do and Cost","k":"3D printing · Accessories","d":"When an enclosure makes sense for an open 3D printer, which variants exist and what HEPA and activated carbon filters can do.","u":"/en/3d-printing/accessories/3d-printer-enclosure-air-filter/","x":"Many entry level printers are open frame. For PLA and PETG that is not a problem. As soon as you want to print ABS or ASA, though, or the printer stands in a living space, or noise and dust bother you, the question of an enclosure comes up. This article explains what an enclosure does, which variants exist and when an air filter makes sense in addition. What an enclosure is good for Heat in the build chamber: ABS and ASA shrink strongly as they cool. An enclosure keeps the heat of the print bed in the build chamber and so reduces warping /3d druck/probleme/warping/ and cracks between the layers. No draughts: even an open window or an air conditioner is enough to make corners lift off the bed. Less noise: fans and stepper motors are dampened, but not silenced. How much it helps depends heavily on material and how well it seals. Less dust: on axes, print plate and filament. Containing emissions: particles and gases initially stay in the enclosure. Without a filter or exhaust, though, they escape at the latest when you open it. An enclosure alone therefore does not make the air cleaner. Protection: children and pets cannot as easily reach into hot or moving parts. What particles and gases are produced during printing and how to ventilate properly is covered in detail under 3D printing safety /3d druck/grundlagen/sicherheit/ . Variants at a glance Variant Typical price Advantages Disadvantages Fabric tent with aluminium coating about €30 to €80 cheap, quick to set up, stores compactly not very rigid, hardly any noise protection, hard to seal Enclosure from IKEA Lack tables about €30 to €100 plus panels and small parts cheap, many build plans, easy to extend DIY work, wood based material is combustible Kit from aluminium profiles and panels about €100 to €300 sturdy, often made to fit specific printers assembly, quality varies widely Manufacturer enclosure about €300 to €400 fits exactly, often with mounts for power supply, light and filter expensive, only for specific models A Lack side table costs around €10 at IKEA. For a typical enclosure you stack two tables and add side walls made of acrylic or polycarbonate panels. Panel prices depend heavily on size and material. If you print a lot of ABS, ASA or nylon, you should also take a look at enclosed printers /3d druck/drucker/geschlossene/ . A retrofitted enclosure with a filter quickly reaches the price difference to an enclosed machine. What to look for in an enclosure Electronics and power supply It gets warm inside the enclosure, quickly 40 °C and more with ABS. The mainboard, stepper drivers and power supply are not always designed for this. Many enclosure build plans therefore move the power supply and electronics outside. If that is not possible with your printer, ensure ventilation for the electronics and keep an eye on the temperature with a simple thermometer. The filament extruder and plastic parts on the printer itself can also soften at high chamber temperatures, especially if they are printed in PLA. PLA in an enclosed chamber PLA does not like heat. If the chamber gets too warm, the filament softens above the nozzle and the extruder clogs. The Prusa Knowledge Base names a room temperature above 35 °C, or above 30 °C with some filaments, as a common cause of this so called heat creep. A fully closed, unventilated enclosure is very likely to be a problem for PLA. For PLA and usually PETG as well, therefore open the door or lid or fit a fan. More under Clogged nozzle /3d druck/probleme/duese verstopft/ . Fire protection An enclosure shuts the printer in, including in the event of a fire. Therefore: Prefer non combustible or flame retardant materials , for example metal, glass or aluminium composite panels. Acrylic burns, polycarbonate is more flame retardant. Wood and wood based materials, as in Lack tables, are combustible. With fabric tents, check the manufacturer's heat resistance information and do not let them rest directly against the hotend. Do not store filamen"},{"t":"3D printer maintenance: what to do and when, with a schedule","k":"3D printing · Basics","d":"Maintenance schedule for FDM printers: what to do after every print, weekly, monthly and every few hundred hours, from build plate to PTFE tube.","u":"/en/3d-printing/basics/printer-maintenance/","x":"A 3D printer often runs for hundreds of hours a year. Dust and filament residue build up, belts slacken and nozzles wear down. Many print problems can be prevented with a bit of regular care before they arise. The schedule below is a guide. The exact intervals and lubricants are given in your printer's manual, which always takes priority. Maintenance schedule When What How Before or after every print Clean the build plate Keep it grease free, do not touch the surface with your fingers Tidy the build chamber Remove filament residue, support remnants and purge waste Inspect the nozzle visually No plastic crust, no blob at the nozzle tip Weekly with heavy use Clean the fans Blow away dust with compressed air, remove strings with tweezers Check the nozzle cleaner and wiper If fitted, keep free of residue Monthly Clean axes and rods Wipe with a lint free cloth and isopropanol Check belt tension Both belts equally taut Check screws and frame Retighten loose screws, do not overtighten Check the firmware version Read the changelog, then update Every 200 to 300 print hours Lubricate the axes Only as specified by the manufacturer and with the right lubricant Clean the extruder gears Remove filament dust with a brush or compressed air Check the nozzle, replace if necessary Much sooner with abrasive filaments Check the PTFE tube Check the ends for discolouration and deformation About once a year Check cables and connectors With the machine switched off and unplugged Replace filters Activated carbon filters every 1 to 3 months up to yearly, depending on use For context: Prusa gives cleaning and lubrication of the axes every 200 print hours and an electronics check every 600 to 800 hours for the MK4 series. For the X1 series, Bambu Lab recommends cleaning the fans weekly, cleaning the rods monthly and lubricating the Z lead screws every three months. Cleaning the build plate Fingerprints and grease are the most common reason why the first layer /3d druck/probleme/erste schicht/ suddenly stops sticking. For daily care, isopropanol on a lint free cloth is enough. Washing up liquid with warm water is more thorough and often more effective; dry well afterwards. For smooth PEI plates some manufacturers allow acetone occasionally, but usually not for textured plates. If in doubt, read the plate's instructions. Plates with scratches, dents or a worn coating hold less well. They are a wear part. Checking and replacing the nozzle A brass nozzle lasts a long time when printing PLA and PETG. Abrasive filaments with carbon or glass fibres, glitter or glow pigments wear it down much faster. Hardened nozzles exist for this. Signs of a worn nozzle: The nozzle hole looks larger or out of round Lines become uneven although temperature and flow are right Stringing or over extrusion increase for no apparent reason When replacing, only tighten the nozzle when hot unless the manufacturer says otherwise, and wear gloves. On many current printers you replace the whole hotend module instead of just the nozzle. If the nozzle is blocked, Clogged nozzle /3d druck/probleme/duese verstopft/ helps. Tensioning the belts Loose belts lead to inaccuracies, ghosting or layer shift /3d druck/probleme/layer shift/ . Belts that are too tight put strain on bearings and motors. Prusa describes the right tension like this: when plucked, the belts sound like a deep bass note. On CoreXY printers both belts must be tensioned equally. Many manufacturers offer a measuring function or an app that analyses the tone. Lubricating axes and linear rails Here it especially applies: follow the manufacturer's instructions. The parts differ greatly depending on the printer. Smooth steel rods with linear bearings: sparingly, with the recommended lubricant Linear rails: usually grease or oil via the lubrication nipples or directly onto the track Z axis lead screws: a thin coat of grease Carbon rods: clean only, do not lubricate Before lubricating, wipe off old grease and dust. Too much lubricant a"},{"t":"3D printer nozzles: choosing the right material and size","k":"3D printing · Accessories","d":"Brass, hardened steel or tungsten carbide? 0.2 or 0.6 mm? Which nozzle suits what, what high-flow means and how to change the nozzle safely.","u":"/en/3d-printing/accessories/nozzles/","x":"The nozzle is a small part with a big effect. Its material decides which filaments you can print and how long it lasts. Its diameter determines how fine or how fast you print. Almost every printer comes with a 0.4 mm nozzle fitted, often made of brass or, on newer machines, of hardened steel. The materials Brass The standard. Brass conducts heat very well, so the filament melts evenly. Brass nozzles are cheap and easy to clean. They are ideal for PLA, PETG, ABS, ASA, TPU, PC and nylon without fillers. Their weak point: brass is soft. Filaments with carbon or glass fibres, glitter, metal powder or glow pigments wear out the opening quickly. Hardened steel The usual choice for abrasive filaments. Hardened steel is much more wear resistant but conducts heat worse than brass, according to manufacturers around 16 to 22 W/mK instead of about 105 W/mK. At high throughput the nozzle can therefore reach its limits. Some profiles work with a slightly higher temperature or a lower maximum flow. Modern variants are coated, for example nickel plated, so that less material sticks and they do not corrode. Stainless steel Not as hard as hardened steel, but corrosion resistant and free of lead, which brass can contain in small amounts. Stainless steel nozzles are therefore often mentioned for parts with food contact. Caution: a nozzle alone does not make a part food safe; filament and layer structure play a part just as much. Copper alloys, nickel plated Copper conducts heat even better than brass. Coated with nickel or other layers, filament residue sticks less and the surface lasts somewhat longer. These nozzles are intended for fast printing and high temperatures. Against strongly abrasive filaments the coating helps only to a limited extent; the exact approval is given by the manufacturer. Ruby and tungsten carbide The long lasting ones. With ruby nozzles, a gemstone sits as the tip in a brass body. Tungsten carbide is extremely hard and still conducts heat decently. Both last a very long time even with fibre reinforced filaments. In return they cost many times as much as a steel nozzle, and a ruby tip can break on a hard knock. Worthwhile if you regularly print fibre reinforced filaments /3d druck/filamente/faserverstaerkte filamente/ . Material Abrasive filaments Heat conduction Price approx. Brass no very good €1 to €20 Stainless steel limited low €5 to €20 Hardened steel yes low €10 to €50 Copper, coated depends on the manufacturer very good €20 to €40 Ruby, tungsten carbide yes, very long life good €40 to €130 The range for brass is wide: replica sets cost only one to two euros per nozzle, branded nozzles considerably more. With quick change systems you buy a complete hotend module instead of the nozzle, where prices are around €15 to €60. The sizes The diameter determines how wide a line becomes and how tall a layer may be. As a rule of thumb, Prusa states that the layer height /3d druck/einstellungen/layerhoehe/ should be at most 80 % of the nozzle diameter. Nozzle Max. layer height approx. Use 0.2 to 0.25 mm 0.16 to 0.2 mm miniatures, fine lettering, jewellery, very small parts 0.4 mm 0.32 mm standard, a good compromise for almost everything 0.6 mm 0.48 mm sturdy everyday parts, holders, vases, considerably faster 0.8 mm 0.64 mm large functional parts, visible layers do not matter According to Prusa, a 0.6 mm nozzle prints many objects in about half the time of a 0.4 mm nozzle. Small nozzles have drawbacks: they clog more easily, print much more slowly and cannot handle filaments with fibres or larger particles. For fibre reinforced filaments, manufacturers usually recommend at least 0.4 mm, often 0.6 mm. After changing a nozzle you have to choose the matching profile in the slicer. Otherwise it keeps calculating with the old line width. High flow nozzles If you print fast, you eventually hit the limit of how much filament can be melted per second. High flow nozzles increase this throughput. Two approaches are common: a longer melt"},{"t":"3D printers for children: safety, materials, getting started","k":"3D printing · Buying guide","d":"What parents should look for: manufacturers' age guidance, hot parts, emissions, supervision, PLA instead of resin, Tinkercad to start, first projects and criteria for a suitable machine. No buying recommendation.","u":"/en/3d-printing/buying-guides/3d-printers-for-kids/","x":"Children and teenagers learn a lot from a 3D printer: spatial thinking, design, patience and dealing with mistakes. But a 3D printer is not a toy. It has a nozzle at over 200 °C, a hot bed, moving mechanics, and it releases particles. This article shows what manufacturers and authorities say, which material is suitable, how to get started with the software and how to recognise a suitable machine. There is deliberately no recommendation for a specific model here. What manufacturers and authorities say Manufacturers' age guidance: Manufacturers do not state a fixed minimum age, but they do set limits on supervision: Creality writes in its manuals, for example for the Ender 3 V3 SE and K1 Max: children under 10 years old must not use the printer without adult supervision. Anycubic writes in the Kobra 4 manual: the printer and small accessories such as screws and side cutters must be kept out of the reach of children. Check the safety instructions for your machine, as the wording differs. DGUV for schools: The German Social Accident Insurance DGUV published its own information on 3D printers in schools in 2024 DGUV Information 202 103 . The key points transfer well to the home: Pupils should only work with the printer under supervision. When it is not in use, no unauthorised person should be able to get to it. The build volume should be protected against accidental reaching in, especially during printing. If possible, the printer belongs in a room of its own, not in a classroom that is in constant use. Air the room by opening the windows wide at least after every print. A fireproof surface and nothing flammable nearby. The DGUV does not recommend 3D pens for reasons of prevention. They offer no protection from the hot nozzle, and children are directly exposed to the emissions. The hazards in detail The DGUV lists these hazards for teachers and pupils: Hazard What it means hot nozzle during heating up, during and after the print. Depending on the material, the nozzle reaches 200 to 300 °C. hot build platform risk of burns even after the print, the DGUV advises observing the cooling time moving parts crush injuries if you reach into a running printer emissions especially if the temperature is above the manufacturer's recommendation fire from overheating or flammable items nearby noise reduced concentration The German Federal Institute for Risk Assessment BfR detected particles of about 50 nanometres when printing with PLA, which can reach the pulmonary alveoli. The higher the temperature, the more particles. How relevant this is to health is still being researched by the BfR. An assessment of the state of the research can be found under Safety in 3D printing /3d druck/grundlagen/sicherheit/ . Some simple rules follow from this: do not reach into a running printer, not even \"just for a moment\" only remove parts once the bed has cooled down let only adults clean or change the nozzle put away side cutters, scrapers and deburring tools the printer does not belong in the child's bedroom, see Setting up a 3D printer /3d druck/grundlagen/drucker aufstellen/ Which material? PLA is the material of choice for children and teenagers. It prints at a comparatively low temperature, and studies by UL Chemical Insights show significantly fewer particles and VOCs with PLA than with ABS. More on the material under PLA /3d druck/filamente/pla/ . No ABS, ASA or nylon in living areas with children. These materials have significantly higher emissions and need an enclosure with a filter or extraction. Well known manufacturers with a safety data sheet: The DGUV advises paying attention to the composition and origin of the plastics and, where appropriate, requesting a safety data sheet. The BfR points out that the ingredients of filaments ordered online are sometimes not clearly declared. Do not print hotter than necessary: The DGUV stresses processing plastics only at the temperature recommended by the manufacturer. Above that they can decompose. Resin is "},{"t":"3D Printing or Injection Moulding? Costs, Quantities and Strength","k":"3D printing · Trivia & knowledge","d":"When injection moulding beats 3D printing, what a mould costs, why printed parts are not equally strong in every direction and when printing stays better.","u":"/en/3d-printing/knowledge/3d-printing-vs-injection-moulding/","x":"For single pieces, prototypes and small runs, 3D printing is almost always cheaper, because no mould has to be built. Injection moulding only pays off at larger quantities: the mould is expensive, but every further part is very cheap. The manufacturing service Xometry gives 250 to 2,000 parts as the typical point at which injection moulding becomes cheaper. Depending on the part, though, it can be well below or above that. On strength, injection moulding has an advantage: the parts have no layers. Printed FDM parts are weaker between the layers than along the lines. How the processes differ Injection moulding: plastic granules are melted and injected under pressure into a metal mould. After a short cooling time the finished part falls out. Most of the cost is in the mould. 3D printing FDM : the printer lays down molten filament line by line and layer by layer. There is no mould, and each part costs roughly the same in material and print time. How exactly this works is explained in What is 3D printing? /3d druck/grundlagen/was ist 3d druck/ . What an injection mould costs For injection moulds, Formlabs gives a range from around 100 US dollars for a 3D printed mould for small quantities to over 100,000 US dollars for complex steel moulds with several cavities. Mould Typical quantity Cost according to Formlabs 3D printed mould small quantities, according to Formlabs 100 parts and more from about 100 US dollars Aluminium mould about 1,000 to 5,000 parts about 2,000 to 5,000 US dollars Mould for large runs from about 10,000 parts about 5,000 to 100,000 US dollars The granules themselves are cheap, with Formlabs giving about 1 to 5 US dollars per kilogram. For comparison: filament costs a multiple of that, and current prices are in the filament overview /3d druck/filamente/ . Worked example from Formlabs In one example, Formlabs calculates with three production runs. The figures are example values, not quotes: Quantity Mould Lead time Mould cost Cost per part 100 3D printed, moulded in house 1 to 3 days 100 US dollars 4.00 US dollars 5,000 aluminium, external 3 to 4 weeks 3,000 US dollars 2.60 US dollars 100,000 steel, external 4 to 8 weeks 20,000 US dollars 1.70 US dollars This shows the principle: the larger the run, the less the mould cost weighs per part. When does injection moulding pay off? Xometry uses examples to show how much the break even point varies: Small control knob: printed, it stays competitive up to about 2,000 pieces. Above that it costs about 0.80 US dollars per piece in injection moulding, not counting the mould. Large connector housing: printing alone already costs over 200 US dollars per part. The mould costs around 10,000 US dollars here, but injection moulding is cheaper from about 250 pieces. Important: Xometry's examples refer to industrial printing processes such as SLS and Multi Jet Fusion. For a part from your own FDM printer the calculation is different, because you mainly pay for filament, electricity and your time. How to work this out is explained in Calculating print costs /3d druck/grundlagen/druckkosten/ . Rule of thumb: the larger the part and the more pieces you need, the sooner injection moulding pays off. The smaller the part, the fewer pieces, and the more often the design still changes, the more likely 3D printing stays ahead. Xometry points out that design changes are expensive in injection moulding, because the mould has to be modified. Strength: the problem with layers FDM parts consist of lines and layers that only partly fuse with each other. Formlabs describes how tiny voids remain between the round lines, which is why printed parts are less dense than comparable injection moulded parts. An FDM part is strongest along the printed lines and weaker across them and between the layers. Experts call this anisotropy : the strength depends on the direction. Formlabs quotes a test in which the yield strength of an FDM part in the build direction upwards Z axis reached only about 55 % of the "},{"t":"3D printing records: the largest, smallest and fastest prints","k":"3D printing · Trivia & knowledge","d":"A giant printer in Maine, sculptures smaller than a hair, a Benchy in 59 seconds: documented 3D printing records and the story behind them.","u":"/en/3d-printing/knowledge/3d-printing-records/","x":"A boat you cannot see with the naked eye. A printer as big as a hall. A Benchy in under a minute. There are astonishing records around 3D printing, but also many headlines with \"largest\" or \"first\" that do not stand up to scrutiny. Only records with a reliable source are listed here: Guinness World Records, universities or trade media. The largest prints The largest polymer printer and the largest solid object On 10 October 2019, the University of Maine in the USA set three Guinness records at once. Its large format plastic printer has a build volume of 343.61 m³ and was recognised as the largest prototype polymer 3D printer. As proof, the team printed a boat: the \"3Dirigo\". It is a good 7.6 metres long, weighs around 2.3 tonnes and was printed in three days. This earned the records for the largest 3D printed boat and the largest solid 3D printed object, at 2.06 m³ of material. \"Solid\" really does mean solid here: 100 % infill, with no honeycomb structure. In April 2024 the university presented a successor. According to its figures, it is four times as large, can print parts of about 29 × 9.75 × 5.5 metres and processes up to around 225 kg of plastic per hour. The largest printed structure Since 25 February 2025, the Guinness record for the largest printed structure by volume has been held by a restaurant in Dubai. The companies Proto21 and Myata Platinum Restaurant used 13.75 m³ of printed material. The interesting part: this included perfectly ordinary desktop printers. According to Voxelmatters, FDM printers, resin printers and large format printers ran for three months, producing over 10,500 parts in PLA, PETG and glass fibre reinforced PP. More on these materials in Filaments compared /3d druck/filamente/ . Be careful with headlines about the \"world's largest printed building\": the well known office building by Apis Cor in Dubai 2019 is often called that. According to an enquiry by 3DPrint.com to Guinness, however, the company has never held a Guinness title. The tallest printed sculpture of a human The British YouTuber James Bruton printed an oversized version of himself in 2018: 3.62 metres tall, printed on two printers in about 500 hours, using around 50 kg of filament. Guinness recognised the figure in April 2018 as the tallest printed sculpture of a human. A nice example of the fact that large objects can also be built on ordinary printers in many individual parts. The smallest prints For tiny objects, you use not a nozzle but a laser. In two photon lithography also multiphoton lithography , a laser is focused into a drop of resin. Only exactly at the focal point does the material cure. This produces structures smaller than the width of a hair. The smallest sculpture of a human In 2015, the artist Jonty Hurwitz had a figure called \"Trust\" printed at the Karlsruhe Nano Micro Facility in Germany. It measures 80 × 100 × 30 micrometres. Guinness confirmed the record on 13 February 2015. Shortly afterwards the figure had disappeared, according to Guinness probably crushed accidentally by a finger. The smallest Benchy In 2020, researchers at Leiden University printed a 3DBenchy /3d druck/wissen/benchy/ that is only 30 micrometres long. The boat was made for a study on tiny swimmers in liquids and was described in the journal Soft Matter. It is not an official Guinness record, but it is considered the smallest Benchy ever printed. The fastest prints There is no official record for speed, but there is a lively community competition: the SpeedBoatRace . The aim is to print a Benchy as fast as possible. The rules specify layer height and line width, among other things; appearance is secondary. Time Who Printer When 2:09 min Monika McWuff heavily modified Ender 3 Pro January 2024 under 2 min Jan Roetz home built \"Minuteman\" 2025 74 s Jan Roetz home built \"Minuteman\" before May 2026 59 s Jan Roetz home built \"Minuteman\" May 2026 As of October 2026. These are community records , not officially certified values. They are documente"},{"t":"3D printing safety: fumes, fire protection and children","k":"3D printing · Basics","d":"What gets into the air while printing, how to ventilate sensibly, avoid fires and protect children. Factual and with sources.","u":"/en/3d-printing/basics/3d-printing-safety/","x":"A 3D printer is a device with a hot nozzle, a hot bed and molten plastic that often runs for hours. That is no reason to worry, but it is a reason to get a few things right. This article covers what research says about emissions and which measures actually help in everyday use. What gets into the air while printing Melting filament produces two kinds of emissions: Ultrafine particles UFP : Particles smaller than 100 nanometres. They are so small that they can reach deep into the lungs. Volatile organic compounds VOC : Gases, some of which smell and some of which do not. Depending on the material, these include, for example, styrene with ABS or caprolactam with nylon. Studies by UL Chemical Insights have detected over 200 different compounds in the emissions of FDM printers. One clear result: ABS releases orders of magnitude more particles and more VOCs than PLA. Higher printing temperatures generally increase emissions. A study by the Federal Institute for Materials Research and Testing BAM commissioned by the German Environment Agency also shows that most particles are produced during the heating phase, after which the rate drops significantly. And filaments of the same base material differ considerably depending on the manufacturer. The Institute for Occupational Safety and Health of the DGUV IFA writes that, according to current knowledge, the guideline values for indoor spaces are met if the room is ventilated regularly and sufficiently and the material is not heated above its decomposition temperature IFA project 3142 https://dguv.de/ifa/forschung/projektverzeichnis/ifa3142.jsp . That is no guarantee for every printer and every filament: how much is produced depends heavily on the material, additives, nozzle temperature, machine and ventilation. Long term health effects have not yet been conclusively researched. So caution is appropriate, panic is not. Ventilating and filtering Measure Effect Ventilate the room regularly, at least air it thoroughly after every print Significantly reduces particles and VOCs in the room Do not sit directly next to the printer Exposure is highest close to the printer Closed enclosure Keeps emissions in the build chamber, but without a filter they escape when you open it HEPA filter Filters particles Activated carbon filter Binds some of the gases and smells Exhaust air to the outside The most effective solution for ABS, ASA and nylon Practical rules: Do not run the printer in the bedroom or a child's room. Print ABS, ASA and nylon only with an enclosure and a filter or exhaust air. With enclosed printers, wait a few minutes after printing before you open the door. Do not print hotter than necessary. You can find the right temperature with a temperature tower, see Printing temperature /3d druck/einstellungen/drucktemperatur/ . Prefer filament from known manufacturers with a safety data sheet. Important: draughts interfere with printing. So ventilate in short bursts rather than leaving a window tilted open directly next to the printer. Fire protection Fires caused by 3D printers are rare, but not impossible. The cause is usually defective heaters, loose cables or missing protective functions. Thermal protection in the firmware: Current printers switch off the heater if the measured temperature does not respond as expected, for example because a temperature sensor has slipped out. With old machines or self compiled firmware, check whether this protection is active. Smoke detector in the room with the printer. This is inexpensive and sensible. Non flammable surface , with no papers, cardboard boxes or curtains directly next to the machine. Check cables , especially at the heated bed. On bed slingers the cable moves constantly with the bed and can break over time. No overloaded power strips. The heated bed briefly draws a lot of current while heating up. Do not leave long prints running completely unattended. If you are not at home, a camera with remote shut off helps. Long prints overnight are c"},{"t":"3D Scanning Technology Compared: Structured Light, Laser, Infrared, Photos","k":"3D printing · 3D scanning","d":"How structured light, blue laser lines, infrared scanners, photogrammetry and smartphone LiDAR work, and which technology suits what.","u":"/en/3d-printing/3d-scanning/scanning-technology/","x":"Almost all scanners for makers work optically: they shine light onto the object and use cameras to evaluate how it comes back. The differences lie in the type of light. That determines how accurate, how fast and how robust a scanner is. Many current devices combine two methods in one housing. Structured light fringe projection A projector casts a pattern of stripes or dots onto the object. One or more cameras see how the pattern bends on the surface. From the angle between projector and camera, the software calculates the distance for each point. This method is called triangulation . Because many points are captured at once, structured light is fast and forgives movement. It is the most common technology in handheld scanners. Ambient light can interfere. White or blue light: Blue light is used for fine detail on small objects, for example with the 3DMakerpro Seal, which has an object range of 10 to 300 mm. Infrared NIR, VCSEL : Invisible light that dazzles nobody. That makes it well suited to people. Shining 3D specifies the infrared source of its Einstar as a Class 1 laser product, meaning eye safe. Infrared scanners such as the Creality Otter Lite /3d druck/3d scanner/creality otter lite/ often have a large working distance and also capture large objects. Blue laser lines The scanner projects several thin laser lines, often in a cross or parallel arrangement. The cameras capture the lines very precisely. Laser scanners are regarded as the most accurate technology for makers. Revopoint and Creality state that their laser modes often capture dark and glossy surfaces without spray. Transparent and reflective parts remain difficult even for lasers. For the MetroX Pro /3d druck/3d scanner/revopoint metrox pro/ , Revopoint states up to 0.02 mm, and Creality likewise up to 0.02 mm for the Raptor. In return, laser scanners almost always need markers , small sticky dots that the software uses for orientation. For laser mode, Shining 3D writes: if the device does not detect markers, it does not emit laser lines. The working distance is shorter, usually 150 to 400 mm. Laser is less suitable for people. Pay attention to the laser class: for the MetroX, Revopoint specifies Class 2M for the laser projector. Hybrid scanners Many current devices combine laser for detail with infrared for large objects and people, for example the Einstar 2 /3d druck/3d scanner/einstar 2/ , the Creality PIKA /3d druck/3d scanner/creality pika/ or the Revopoint POP 4 /3d druck/3d scanner/revopoint pop 4/ . You choose the mode depending on the object. Photogrammetry Here there is no projector of its own. The software calculates the model from many photos showing the object from different directions. This works with any camera and with smartphone apps such as RealityScan, Polycam or KIRI Engine. All3DP gives 50 to 1,000 images for this. Photogrammetry is the cheapest, but also the least accurate. It is better suited to artistic models than to precisely fitting spare parts. LiDAR in the smartphone iPhone Pro and iPad Pro have a LiDAR sensor that, according to Apple, measures distances up to 5 m. It measures the time of flight of light and is fast but rough. That is enough for rooms and large objects, but not for printable detailed models. What accuracy figures mean Accuracy is the deviation from the real part. Manufacturers' figures are best values, mostly for a single capture under laboratory conditions. Across a large object the error grows. Some manufacturers therefore state a volumetric accuracy , for example 0.05 mm + 0.1 mm × length in metres for the Revopoint INSPIRE 2. Resolution or point spacing says how densely the measuring points lie. Details smaller than the point spacing are lost. According to Formlabs, inexpensive scanners are at roughly 0.1 to 1 mm, more expensive ones down to 0.02 mm. Only compare values that were measured the same way. Sources Wikipedia: Streifenprojektion https://de.wikipedia.org/wiki/Streifenprojektion , Photogrammetrie https:"},{"t":"3D scanning with a smartphone: apps, LiDAR and limits","k":"3D printing · 3D scanning","d":"What photogrammetry apps and iPhone Pro LiDAR can do, how accurate they are, where the limits lie and when a real scanner pays off. Plus: printing from a photo.","u":"/en/3d-printing/3d-scanning/3d-scanning-with-a-smartphone/","x":"Before you spend money on a 3D scanner, the obvious question is: can't a phone do it too? The short answer: for figures, decorations and large objects, often yes. For precisely fitting spare parts and small details, usually not. This article shows how smartphone scans work, which apps there are and where the line to a real scanner lies. Two routes: photos or LiDAR Photogrammetry works with any smartphone. You photograph the object from all sides, and the app or a server calculates a 3D model from the photos. To do this, the software looks for the same features in many images and calculates where they lie in space. How the method compares with other scanning techniques is explained under Scanning technologies compared /3d druck/3d scan/scantechnik/ . LiDAR is a dedicated sensor that measures distances using the time of flight of light. Apple introduced it with the iPhone 12 Pro and has built it into the Pro models ever since. The data sheet of the current iPhone 18 Pro lists a LiDAR scanner, as does the iPad Pro. According to Apple's data sheet, the standard iPhone 17 does not have one. LiDAR delivers a shape quickly, but it is coarse and better suited to rooms and large objects. Many apps combine both: LiDAR for rooms and quick capture, photos for detailed objects. Apps at a glance A neutral overview, not a recommendation. Prices and terms according to the App Store, Google Play and manufacturer pages, as of 16 October 2026. Offers change often. App Provider Platforms Price Notes according to the provider Polycam Polycam Inc. iOS, iPadOS, Android free with in app purchases Free plan: 10 photogrammetry captures, export only as GLTF. \"Basic\" plan 150 US dollars a year or 30 US dollars a month, with unlimited captures and six mesh formats. LiDAR modes only on devices with LiDAR. KIRI Engine KIRI Innovation iOS, iPadOS, Android, Mac with Apple chip free with in app purchases Free plan with photo scan and LiDAR scan, export as STL and OBJ among others with no export limit since version 4.0 . Up to 150 photos per upload. A mode for shiny and transparent objects is part of the paid plan. RealityScan Mobile Epic Games iOS 16.0 and later, iPadOS, Android free Photo scan with AR guidance, upload to Sketchfab Scaniverse Niantic Spatial iOS 16.6 and later with A12 chip or newer, Android free Mesh export as OBJ, FBX, GLB, USDZ and LAS, plus Gaussian splats. The provider does not list STL. For 3D printing, the export matters most. The slicer needs STL, OBJ or 3MF. A GLTF or GLB model can be converted with programs such as Blender, but that is an extra step. Which formats exist and how they differ is explained under 3D scanning: basics /3d druck/3d scan/ and File formats /3d druck/3d modelle/dateiformate/ . Gaussian splats look very realistic on screen but are not a closed triangle mesh. For printing you need a mesh. How to get a good photo scan KIRI Engine's guide describes what matters: Textured surface: Wood, stone and patterned surfaces work well. Smooth, single coloured, shiny or transparent objects are unsuitable for photo scans. Overlap: Neighbouring photos should overlap by about 70 %. Three heights: Walk around the object once low, once at the middle and once from above, with at least 50 to 60 photos in total. Close ups for fine details in addition. More photos usually give a better result. You also need even light without harsh shadows. The object must not move during capture. How to prepare objects, for example with scanning spray against gloss, is explained under Preparing for scanning /3d druck/3d scan/scannen vorbereiten/ . How accurate is it? For LiDAR there is a reliable measurement: a study in Scientific Reports Luetzenburg and others, 2021 tested the iPhone 12 Pro and iPad Pro. Result: the sensor captures small objects with an edge length of more than 10 cm with an absolute accuracy of about ±1 cm. For a coastal cliff 130 m long, the accuracy was about ±10 cm. That is impressive for terrain models, but for a spare part that"},{"t":"3D scanning: the basics for makers","k":"3D printing · 3D scanning","d":"What a 3D scanner does, what point cloud, mesh and texture mean, what makers scan for and where the limits lie.","u":"/en/3d-printing/3d-scanning/","x":"A 3D scanner captures the shape of a real object and turns it into a digital 3D model. Many devices also record colour. For makers this is mainly interesting when a part is to be reprinted, adapted or processed further digitally: a broken bracket, a figure, a face for a bust. You will find all the scanners in the wiki with technology, accuracy and price in the overview of 3D scanners /3d druck/3d scanner/ . What happens during scanning The scanner measures a very large number of points on the surface of the object. Together they form a point cloud . The software connects the points into a network of triangles, the mesh . This is the actual 3D model. If the scanner has a colour camera, the software additionally lays a texture over the mesh, meaning the colour of the surface. A scanner only sees what it illuminates and captures with its camera. For a complete model you therefore need many individual captures from different directions. The software assembles them. For this to work, it relies on the shape of the object, on its surface structure or on markers stuck onto it. What it has never seen, such as the underside, remains a gap. File formats STL stores only the shape as triangles, no colour and no unit. It is the standard format for 3D printing. OBJ stores shape and texture coordinates. The colours are in an additional MTL file with an image. PLY can store colour directly at every point and is suitable for point clouds and coloured meshes. The common scanning programs export all three formats. What makers scan for Spare parts and reverse engineering: capturing an existing part to reprint it or to use as a basis for your own design. Figures, sculptures and art: digitising objects, scaling them down or up, or printing them as a replica. People: scanning a face, torso or whole person, for example for a bust. Handheld scanners are suitable for this because they are fast enough if someone does not keep completely still. Parts that fit exactly: designing a holder around an existing object, for example for a tool or a device. Limits Dark, shiny and transparent surfaces are difficult. Dark ones swallow the light, shiny ones throw it back uncontrollably, transparent ones let it through. Depending on the technology, a scanning spray /3d druck/3d scan/scannen vorbereiten/ helps. Movement distorts the scan, because the points are captured at different times. Fine details below the scanner's point spacing are lost, even if it is otherwise very accurate. Deep recesses and undercuts are often out of the scanner's reach. Holes remain there, which the software can only estimate. From scan to print The scanner delivers a model at real size. Before it goes into the slicer, you usually tidy it up: remove stray points, close holes, reduce the triangle count. How this works is covered under From scan to print /3d druck/3d scan/scan zum druck/ . Which technology suits which use is explained in the article Scanning technologies compared /3d druck/3d scan/scantechnik/ , and a decision aid for buying can be found under Which 3D scanner is right? /3d druck/3d scan/welcher 3d scanner/ . Sources Wikipedia: 3D scanning https://en.wikipedia.org/wiki/3D scanning and Streifenprojektion https://de.wikipedia.org/wiki/Streifenprojektion Wikipedia: STL https://en.wikipedia.org/wiki/STL file format , OBJ https://en.wikipedia.org/wiki/Wavefront .obj file and PLY https://en.wikipedia.org/wiki/PLY file format Formlabs: How to Choose the Best 3D Scanner for 3D Printing https://formlabs.com/blog/how to choose a 3d scanner for 3d printing/ Shining 3D Support: Preparation for IR Scanning https://support.shining3d.com/en/support/solutions/articles/60000857016 preparation for ir scaning"},{"t":"3DBenchy: why everyone prints this little boat","k":"3D printing · Trivia & knowledge","d":"Where 3DBenchy comes from, what the little boat reveals about your printer, how to evaluate it, and which records and curiosities exist.","u":"/en/3d-printing/knowledge/3dbenchy/","x":"Almost everyone who has a 3D printer has printed it: a small boat with a cabin, chimney and portholes. The 3DBenchy is considered the most printed 3D model in the world. This is no coincidence, but a well thought out test for your printer. Where does the Benchy come from? The Benchy comes from the Swedish company Creative Tools. It was designed by Daniel Norée and Paulo Kiefe and published on 9 April 2015. In July 2015, a version for multi colour and multi material printing was added. The name is a play on \"benchmark\", meaning a comparison test. Creative Tools itself called it a \"torture test\" for 3D printers. The idea: a model that prints quickly, needs no supports and yet contains many typical difficulties at once. A few key figures at original scale: Feature Value Length 60 mm Width 31 mm Height to chimney 48 mm Volume 15.55 cm³ Print time usually under 2 hours according to the manufacturer What the boat tests Each part of the Benchy tests something different: Hull: the curved surfaces show how even the surface turns out and whether patterns such as ghosting appear. Bow: the underside of the bow projects flat to the front. This is an overhang that needs good cooling. Cabin: the top edges of the windows and door are bridges, and the cabin roof is another overhang. Chimney and anchor hole: round holes and cylinders show whether circles really come out round. Sharp edges and thin parts: here you can see stringing, blobs and problems with retraction. Lettering: at the stern there is a small nameplate, and on the underside an engraving. This tests fine details and the first layer. Symmetry and dimensions: if the boat is crooked or warped, something is wrong with the axes or the adhesion. From test model to dispute For a long time the Benchy was under the CC BY ND licence. You were free to print and share it, but not to publish modified versions. For years this bothered hardly anyone, and remixes were everywhere anyway. In March 2024, the NTI Group took over the company Creative Tools and with it the rights to the Benchy. In January 2025, the Printables platform removed Benchy remixes after a third party reported them. The community was outraged. NTI stated that it had not taken any steps itself. Shortly afterwards, on 14 February 2025, NTI, Norée and Kiefe announced that the Benchy is now in the public domain. Since then you may modify, remix and redistribute it as you like. What licences otherwise mean is covered in Licences for 3D models /3d druck/3d modelle/lizenzen/ . Records and curiosities The speed Benchy The community has its own competition: the SpeedBoatRace. The aim is to print a Benchy as fast as possible. The rules prescribe layer height and line width, among other things, but the result does not have to look good. The times have fallen sharply over the years. In January 2024, Tom's Hardware reported on a modified bed slinger that managed a Benchy in 2 minutes and 9 seconds. In May 2026, Jan Roetz printed a Benchy in 59 seconds with his home built \"Minuteman\", after earlier personal bests of under 2 minutes and 74 seconds. These are community records, not officially certified ones. More in 3D printing records /3d druck/wissen/rekorde/ . The tiny Benchy In 2020, researchers at Leiden University printed a Benchy that is only 30 micrometres long, about a third of the thickness of a hair. It was printed using two photon polymerisation, in which a laser cures resin in a drop only at the focal point. The boat was part of a study on microswimmers, meaning tiny particles that move through liquids. The results appeared in the journal Soft Matter. How to evaluate your Benchy A Benchy is only as useful as the way you look at it. Here is how to go about it: 1. Change only one thing. If you print several Benchys for comparison, change only one setting per print. 2. Measure rather than estimate. With callipers, check length, width and height against the target values. If all dimensions deviate in the same direction, it is worth l"},{"t":"7 persistent myths about 3D printing","k":"3D printing · Trivia & knowledge","d":"Compostable PLA, food-safe prints, more infill means more strength: seven common misconceptions and what is really true.","u":"/en/3d-printing/knowledge/3d-printing-myths/","x":"Plenty of half truths circulate about 3D printing. Some date from the time of the first hype, others are simply passed on in forums and comments. Here are seven myths that keep coming up, and what is actually behind them. Myth 1: \"You can print anything with a 3D printer\" A home printer can do a lot, but by no means everything. An FDM printer processes plastics that soften when heated. Metal, glass or ceramic parts in final quality are made on other, mostly industrial machines. On top of that come limits in the printing itself: the build volume limits the size, steep overhangs need supports, and printed parts are weaker between the layers than along the layers. A part that fits in theory can break in practice at exactly this point. What can sensibly be printed is explained in What is 3D printing? /3d druck/grundlagen/was ist 3d druck/ . Myth 2: \"More infill makes a part stronger\" Only partly true. More infill does make a part somewhat stronger, but beyond a certain point every additional per cent brings hardly anything, while costing time and material. The outer walls carry most of the load. The engineer and YouTuber Stefan Hermann CNC Kitchen also concludes in his tests that more wall thickness usually brings more strength than more infill. A part with four walls and 20 % infill is therefore often stronger than one with two walls and 50 %. You will find specific values in Setting infill /3d druck/einstellungen/infill/ . Myth 3: \"I can throw PLA on the compost\" PLA is often advertised as biodegradable. That is not wrong, but it is incomplete. PLA only breaks down reliably under industrial conditions, meaning controlled moisture and temperatures around 60 °C over weeks to months. According to NABU https://www.nabu.de/umwelt und ressourcen/ressourcenschonung/kunststoffe und bioplastik/30018.html , testing to the standard EN 13432 takes place at around 60 °C, and according to the testing laboratory Measurlabs https://measurlabs.com/de/blog/biologische abbaubarkeit kompostierbarkeit norm tests/ , the associated test standard ISO 14855 is usually run at 58 °C. A garden compost heap does not get hot enough for that. There, a PLA print lies for a very long time without much happening. PLA does not belong in the organic waste bin either: many composting plants cannot process bioplastics to the standard and sort them out. Where leftovers belong instead is explained in Disposing of and recycling filament /3d druck/filamente/filament entsorgen/ . More on the material in Printing PLA /3d druck/filamente/pla/ . Myth 4: \"3D prints are food safe\" A filament can be approved as a raw material for food contact. The printed part is far from automatically so. The Prusa Knowledge Base gives several reasons: Food residue settles in the grooves between the layers, and bacteria can multiply there. This can hardly be cleaned thoroughly. Washing up liquid can also lodge in the grooves. The usual brass nozzle wears down, and the abrasion ends up in the print. Dyes and additives in the filament are often not tested for food. Prusa explicitly advises against using prints as food containers. What a declaration of conformity from the filament manufacturer means and what printed parts are still good for in the kitchen is explained in Food safe printing /3d druck/filamente/lebensmittelecht/ . Myth 5: \"An expensive printer automatically makes better prints\" A more expensive printer can save you a lot of work: automatic calibration, enclosed housing, multi colour system, higher speed. But print quality depends just as much on things that every printer needs: a clean print bed, suitable temperature, dry filament and sensible slicer settings. A well tuned cheap printer often delivers better results than an expensive machine with damp filament and wrong settings. How to set up your printer properly is explained in Calibrating your printer /3d druck/einstellungen/kalibrieren/ . Myth 6: \"3D printers are toxic\" or \"completely harmless\" Both fall short. Studies by UL "},{"t":"Air assist for lasers: airflow, pump and how to use it","k":"Laser · Settings","d":"What air assist does when laser cutting, how much air you need, when to use less air for engraving, and how a pump differs from a compressor.","u":"/en/laser/settings/air-assist/","x":"Air assist is a jet of air that blows through a nozzle on the laser head straight onto the laser spot. It looks unremarkable, but when cutting it often decides whether the edge comes out clean or charred. Here you will find out what the air does, how much you need and when less is better. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Without air assist: smoke rises from the cut towards the lens, flames and embers form at the cutting point\" <text class=\"t\" x=\"16\" y=\"26\" Without air assist</text <rect class=\"tool\" x=\"148\" y=\"46\" width=\"44\" height=\"38\" rx=\"3\"/ <path class=\"tool\" d=\"M152 84H188L180 94H160Z\"/ <path class=\"fil\" stroke width=\"2.5\" d=\"M170 94V196\"/ <rect class=\"part\" x=\"40\" y=\"196\" width=\"127\" height=\"40\" rx=\"2\"/ <rect class=\"part\" x=\"173\" y=\"196\" width=\"127\" height=\"40\" rx=\"2\"/ <path class=\"bad\" stroke width=\"1.6\" d=\"M164 178C148 166 182 160 158 140C146 128 164 114 156 100M177 178C196 166 162 158 188 138C202 126 186 112 192 100M156 184C128 176 142 166 118 152\"/ <path class=\"bad\" stroke width=\"2\" d=\"M158 196C150 182 162 176 162 160C170 172 188 180 182 196\"/ <text class=\"s bad t\" x=\"324\" y=\"124\" text anchor=\"end\" Smoke rises</text <text class=\"s bad t\" x=\"324\" y=\"140\" text anchor=\"end\" to the lens</text <text class=\"s bad t\" x=\"170\" y=\"276\" text anchor=\"middle\" Flames and embers in the cut</text </svg <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"With air assist: a jet of air blows onto the laser spot and pushes the smoke out of the cut\" <text class=\"t\" x=\"16\" y=\"26\" With air assist</text <rect class=\"tool\" x=\"148\" y=\"46\" width=\"44\" height=\"38\" rx=\"3\"/ <path class=\"tool\" d=\"M152 84H188L180 94H160Z\"/ <path class=\"fil\" stroke width=\"2.5\" d=\"M170 94V196\"/ <path class=\"good\" stroke width=\"1.8\" d=\"M160 98L166 184M180 98L174 184M161 177L166 186L169 176M179 177L174 186L171 176\"/ <rect class=\"part\" x=\"40\" y=\"196\" width=\"127\" height=\"40\" rx=\"2\"/ <rect class=\"part\" x=\"173\" y=\"196\" width=\"127\" height=\"40\" rx=\"2\"/ <path class=\"good\" stroke width=\"1.8\" d=\"M170 240V262M164 254L170 264L176 254\"/ <text class=\"s good t\" x=\"324\" y=\"124\" text anchor=\"end\" Air jet onto</text <text class=\"s good t\" x=\"324\" y=\"140\" text anchor=\"end\" the laser spot</text <text class=\"s good t\" x=\"16\" y=\"256\" Smoke is pushed out</text <text class=\"s good t\" x=\"16\" y=\"272\" of the cut</text </svg </div <figcaption Schematic illustration. On the left the smoke stays in the cut, rises to the lens and small flames can grow. On the right a jet of air from the nozzle blows straight onto the laser spot, pushes the smoke out of the cut and keeps the flames small.</figcaption </figure What air assist does Lasering vaporises and burns material. This produces smoke, sparks and sometimes small flames. The air jet helps in several ways: Suppressing flames: The air blows out small flames at the cutting point before they grow. It does not replace supervision or a fire extinguisher, though. Pushing smoke out of the cut: Smoke in the kerf absorbs laser light. If it is blown away, more energy reaches the material. Protecting the lens: The airflow keeps smoke and resin away from the lens. A dirty lens loses power and can be damaged by heat. Cleaner edges: Fewer embers in the cut means fewer dark edges. More on this under Burn marks /laser/probleme/brandspuren/ . Deeper cuts: Because the kerf stays clear, you can often cut thicker material with the same settings or need fewer passes. Without air assist, clean cuts in wood are hard to achieve with many diode lasers. If a cut does not go through, missing or weak air is one of the first causes, see Does not cut through /laser/probleme/schneidet nicht durch/ . How much air you need Manufacturers usually state the airflow in litres per minute l/min , sometimes with the pressure in kPa as well. A few examples from manufacturer information: Example Specification Pump on the Acmer P2 33W /laser/geraete/acmer p2 33w/ 30 l/min according to the product page, the FAQ states 25 l/min Air assi"},{"t":"Bambu Studio: the slicer for Bambu Lab printers explained","k":"3D printing · Slicers","d":"What Bambu Studio can do, how it works with printers, the app and AMS, and when it is worth looking at OrcaSlicer.","u":"/en/3d-printing/slicers/bambu-studio/","x":"Bambu Studio is Bambu Lab's slicer. It is free, open source and built on PrusaSlicer. Its greatest strength is how it works with the company's own printers: setting up, printing and monitoring all work from a single program. At a glance Developer Bambu Lab Cost free Licence Open source AGPL 3.0 Systems Windows, macOS, Linux Origin Further development of PrusaSlicer Who is Bambu Studio suited to? Owners of Bambu Lab printers: Profiles for printers, nozzles and Bambu filaments are already set up. Multi colour printing with AMS: Colours are assigned directly in the slicer to the spools in the AMS. Beginners: very little setup, lots of automation. What sets Bambu Studio apart Projects with several build plates: several print jobs in one file Direct printing and monitoring: send print jobs, view the camera, follow progress Connection to MakerWorld: open models from the Bambu platform directly with ready made print profiles Painting on colours, supports and seams directly on the model Limits Designed for Bambu printers. There are profiles for some third party machines, but the selection is smaller than in OrcaSlicer or PrusaSlicer. Fewer calibration tests than OrcaSlicer, even though the most important basic tests are now included. Dependence on the ecosystem. With the firmware changes of early 2025, Bambu Lab regulated third party software access to the printers more strictly. If you want to use other slicers, you should check the manufacturer's current notes on network and developer mode. Bambu Studio or OrcaSlicer? For getting started with a Bambu printer, Bambu Studio is the simplest choice. OrcaSlicer /3d druck/slicer/orcaslicer/ is worth it if you want more calibration tests or use printers from several brands. The slicer comparison /3d druck/slicer/ gives an overview."},{"t":"Banding in UV printing: causes and fixes","k":"UV printing · Troubleshooting","d":"Light or dark lines across your motif? Where banding in UV printing comes from and how to narrow it down and fix it step by step.","u":"/en/uv-printing/troubleshooting/uv-print-banding/","x":"Banding means fine light or dark stripes that run through the motif at regular intervals. They are most noticeable on solid areas and gradients. The causes range from clogged nozzles to badly calibrated axes, and the problem can usually be narrowed down with a few tests. First, read the stripes Before you change any settings, look closely at the stripes: Appearance Likely cause Light lines, one colour missing in places Nozzle dropout in that colour channel Light lines in all colours, even spacing Step or feed calibration too large Dark lines, even spacing Feed too small, passes overlap Slightly doubled edges, blurry lines Bidirectional calibration or print head distance Stripes only in the white White ink has settled or white nozzles are clogged Stripes only with one motif Cause more likely in the file Cause 1: Nozzle dropout The most common cause. If individual nozzles drop out, ink is missing at those positions, and every pass produces a light line. What helps: Print a nozzle check. Missing or crooked lines in the test pattern show the affected channel. Then start a cleaning and repeat the test. More on this in the article Clogged nozzles on a UV printer /uv druck/probleme/uv duesen verstopft/ . Air bubbles in the ink lines after a cartridge change, or a very low fill level, can also make nozzles drop out briefly. Many devices have a function for filling or flushing the lines for this. Cause 2: Step or feed calibration The print head prints the motif in swaths. After each swath, the object or the head moves on by a precisely defined distance. If this step is not exactly right, gaps light stripes or overlaps dark stripes appear between the swaths. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 260\" role=\"img\" aria label=\"Wrong feed: a gap between the printed swaths appears as a light stripe, or an overlap appears as a dark stripe\" <text class=\"t\" x=\"16\" y=\"26\" Feed is wrong</text <path class=\"ink\" stroke width=\"1.4\" d=\"M60 48H190M68 43L58 48L68 53M182 43L192 48L182 53\"/ <text class=\"s\" x=\"200\" y=\"52\" Head moves</text <rect class=\"part\" fill opacity=\"0.7\" x=\"24\" y=\"60\" width=\"190\" height=\"30\"/ <rect class=\"part\" fill opacity=\"0.7\" x=\"24\" y=\"90\" width=\"190\" height=\"30\"/ <rect class=\"part\" fill opacity=\"0.7\" x=\"24\" y=\"128\" width=\"190\" height=\"30\"/ <rect class=\"part\" fill opacity=\"0.7\" x=\"24\" y=\"158\" width=\"190\" height=\"30\"/ <rect class=\"part\" fill opacity=\"0.7\" x=\"24\" y=\"180\" width=\"190\" height=\"30\"/ <path class=\"fil\" stroke width=\"8\" opacity=\"0.45\" d=\"M24 184H214\"/ <text class=\"s bad t\" x=\"224\" y=\"122\" Gap:</text <text class=\"s bad t\" x=\"224\" y=\"138\" light stripe</text <text class=\"s bad t\" x=\"224\" y=\"182\" Overlap:</text <text class=\"s bad t\" x=\"224\" y=\"198\" dark stripe</text <text class=\"s\" x=\"170\" y=\"242\" text anchor=\"middle\" each swath is one pass of the head</text </svg <svg viewBox=\"0 0 340 260\" role=\"img\" aria label=\"Goal: the swaths meet exactly, the area is even\" <text class=\"t\" x=\"16\" y=\"26\" Goal: feed calibrated</text <path class=\"ink\" stroke width=\"1.4\" d=\"M60 48H190M68 43L58 48L68 53M182 43L192 48L182 53\"/ <text class=\"s\" x=\"200\" y=\"52\" Head moves</text <rect class=\"part\" fill opacity=\"0.7\" x=\"24\" y=\"60\" width=\"190\" height=\"30\"/ <rect class=\"part\" fill opacity=\"0.7\" x=\"24\" y=\"90\" width=\"190\" height=\"30\"/ <rect class=\"part\" fill opacity=\"0.7\" x=\"24\" y=\"120\" width=\"190\" height=\"30\"/ <rect class=\"part\" fill opacity=\"0.7\" x=\"24\" y=\"150\" width=\"190\" height=\"30\"/ <rect class=\"part\" fill opacity=\"0.7\" x=\"24\" y=\"180\" width=\"190\" height=\"30\"/ <text class=\"s good t\" x=\"224\" y=\"130\" Swaths meet</text <text class=\"s good t\" x=\"224\" y=\"146\" exactly</text <text class=\"s good t\" x=\"170\" y=\"242\" text anchor=\"middle\" even area</text </svg </div <figcaption Schematic view from above. On the left, the feed after each swath is wrong: a gap becomes a light stripe, an overlap a dark one. On the right, the swaths meet exactly.</figcaption </figure What helps: Run the step calibration often called \"Step\", \"Feed\" or \"Vorsc"},{"t":"Bed slinger or CoreXY: which design suits you?","k":"3D printing · Basics","d":"The two most common 3D printer designs explained simply: how they work, what they can do and who benefits from which.","u":"/en/3d-printing/basics/bed-slinger-vs-corexy/","x":"When choosing a 3D printer, you quickly stumble over two terms: bed slinger and CoreXY. Behind them lies the question of what actually moves while printing. That sounds technical, but it has direct consequences for speed, space requirements and which materials work well. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 300\" role=\"img\" aria label=\"Bed slinger: the print bed moves back and forth, the print head moves left, right and up\" <text class=\"t\" x=\"16\" y=\"26\" Bed slinger</text <path class=\"ink\" stroke width=\"2\" d=\"M20 252H320\"/ <path class=\"ink\" stroke width=\"4\" d=\"M70 252V56\"/ <path class=\"ink\" stroke width=\"3\" d=\"M70 112H156\"/ <rect class=\"tool\" x=\"150\" y=\"96\" width=\"40\" height=\"30\" rx=\"3\"/ <path class=\"tool\" d=\"M162 126H178L172 140H168Z\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M40 86V146M34 96L40 86L46 96M34 136L40 146L46 136\"/ <rect class=\"part\" x=\"150\" y=\"166\" width=\"40\" height=\"34\" rx=\"2\"/ <rect class=\"plate\" x=\"90\" y=\"200\" width=\"160\" height=\"12\" rx=\"3\"/ <path class=\"ink\" stroke width=\"2\" d=\"M150 212V236M190 212V236M130 236H210\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M80 228H120M90 222L80 228L90 234M220 228H260M250 222L260 228L250 234\"/ <text class=\"s\" x=\"324\" y=\"70\" text anchor=\"end\" Head: left, right, up</text <text class=\"s\" x=\"170\" y=\"280\" text anchor=\"middle\" Bed: back and forth</text </svg <svg viewBox=\"0 0 340 300\" role=\"img\" aria label=\"CoreXY: the print head moves in the horizontal plane, the bed lowers with each layer\" <text class=\"t\" x=\"16\" y=\"26\" CoreXY</text <rect class=\"ink\" stroke width=\"3\" x=\"50\" y=\"44\" width=\"240\" height=\"208\" rx=\"4\"/ <path class=\"ink\" stroke width=\"2.5\" d=\"M50 82H290\"/ <rect class=\"tool\" x=\"150\" y=\"68\" width=\"40\" height=\"30\" rx=\"3\"/ <path class=\"tool\" d=\"M162 98H178L172 112H168Z\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M96 104H136M106 98L96 104L106 110M204 104H244M234 98L244 104L234 110\"/ <text class=\"s\" x=\"170\" y=\"136\" text anchor=\"middle\" Head: left, right, forward, back</text <rect class=\"part\" x=\"150\" y=\"148\" width=\"40\" height=\"34\" rx=\"2\"/ <rect class=\"plate\" x=\"80\" y=\"182\" width=\"180\" height=\"12\" rx=\"3\"/ <path class=\"ink\" stroke width=\"2\" d=\"M170 194V252\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M110 204V236M104 226L110 236L116 226\"/ <text class=\"s\" x=\"170\" y=\"280\" text anchor=\"middle\" Bed: lowers each layer</text </svg </div <figcaption Schematic view. On the left, the bed with the print moves back and forth, while the head handles left, right and height. On the right, only the light head moves in the horizontal plane, and the bed lowers layer by layer.</figcaption </figure The bed slinger: the bed moves too On a bed slinger, the print bed moves back and forth, and the print head moves left, right and up. This is the classic design that many entry level printers still use today. Advantages: Simple, inexpensive mechanics Open and easy to access, easy to maintain Current models are still surprisingly fast Disadvantages: The moving bed together with the print limits the speed Tall, narrow parts can start to wobble Needs space at the front and back, because the bed moves out Harder to enclose, because the bed moves forwards and backwards. For ABS and ASA it is therefore usually less convenient CoreXY: the head moves, the bed lowers On a CoreXY, the print head moves in both directions of the horizontal plane. Two motors work together via crossed belts to do this. The print bed only lowers layer by layer. Advantages: High accelerations, because only the light print head is moved quickly The print stands still, so even tall objects stay stable Compact cube shape that is easy to enclose With an enclosed chamber, well suited to ABS and ASA. Whether engineering filaments are possible is decided by chamber temperature, hotend, nozzle and heated bed, not by the design alone Disadvantages: More complex mechanics, belts have to be tensioned correctly Generally more expensive Enclosed devices are larger and heavier What does this mean in practice? Bed slinger CoreXY Pri"},{"t":"Blurry UV prints and ink mist (overspray)","k":"UV printing · Troubleshooting","d":"Soft edges, ink mist beside the design, ragged borders? Why UV prints turn out blurry and how to reliably avoid overspray.","u":"/en/uv-printing/troubleshooting/blurry-uv-print-overspray/","x":"The print looks soft, text has a haze, and a fine ink mist lies next to the design. This overspray occurs when ink droplets do not land where they are meant to. Almost always it has to do with the path between nozzle and surface. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Print gap too large: the droplets are deflected on the long path, satellite droplets land as mist next to the design\" <text class=\"t\" x=\"16\" y=\"26\" Gap too large</text <rect class=\"tool\" x=\"120\" y=\"48\" width=\"100\" height=\"32\" rx=\"3\"/ <text class=\"s\" x=\"232\" y=\"68\" Print head</text <path class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"4 4\" opacity=\"0.6\" d=\"M150 84L110 206M190 84L230 206\"/ <circle class=\"part\" cx=\"162\" cy=\"116\" r=\"3.5\"/ <circle class=\"part\" cx=\"178\" cy=\"138\" r=\"3.5\"/ <circle class=\"part\" cx=\"166\" cy=\"168\" r=\"3.5\"/ <circle class=\"part\" cx=\"180\" cy=\"190\" r=\"3.5\"/ <circle class=\"bad\" stroke width=\"2.5\" cx=\"142\" cy=\"150\" r=\"1\"/ <circle class=\"bad\" stroke width=\"2.5\" cx=\"204\" cy=\"164\" r=\"1\"/ <circle class=\"bad\" stroke width=\"2.5\" cx=\"128\" cy=\"188\" r=\"1\"/ <circle class=\"bad\" stroke width=\"2.5\" cx=\"214\" cy=\"186\" r=\"1\"/ <path class=\"ink\" stroke width=\"1.3\" d=\"M60 84V206M55 92L60 84L65 92M55 198L60 206L65 198\"/ <text class=\"s\" x=\"68\" y=\"150\" far</text <rect class=\"part\" x=\"24\" y=\"210\" width=\"292\" height=\"26\" rx=\"2\"/ <path class=\"fil\" stroke width=\"4\" d=\"M150 208H190\"/ <path class=\"bad\" stroke width=\"2.5\" d=\"M112 208H113M122 208H123M131 208H132M138 208H139M201 208H202M209 208H210M218 208H219M227 208H228\"/ <text class=\"s bad t\" x=\"170\" y=\"266\" text anchor=\"middle\" Ink mist next to the design</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Goal: small print gap, the droplets land accurately, the edge stays sharp\" <text class=\"t\" x=\"16\" y=\"26\" Goal: small gap</text <rect class=\"tool\" x=\"120\" y=\"152\" width=\"100\" height=\"32\" rx=\"3\"/ <text class=\"s\" x=\"232\" y=\"172\" Print head</text <circle class=\"part\" cx=\"162\" cy=\"196\" r=\"3.5\"/ <circle class=\"part\" cx=\"178\" cy=\"200\" r=\"3.5\"/ <path class=\"ink\" stroke width=\"1.3\" d=\"M60 186V206M56 192L60 186L64 192M56 200L60 206L64 200\"/ <text class=\"s\" x=\"68\" y=\"200\" short</text <rect class=\"part\" x=\"24\" y=\"210\" width=\"292\" height=\"26\" rx=\"2\"/ <path class=\"fil\" stroke width=\"4\" d=\"M150 208H190\"/ <text class=\"s good t\" x=\"170\" y=\"266\" text anchor=\"middle\" sharp edge, no mist</text </svg </div <figcaption Schematic illustration. On the left the path between print head and surface is long, and droplets and small secondary droplets are deflected and land next to the design. On the right the gap is small and the droplets hit accurately.</figcaption </figure Cause 1: print gap too large The most important point. The droplets from the print head are tiny and are slowed and deflected by the air on their way to the surface. The longer the path, the less accurately they land. Mimaki recommends keeping the distance between the lowest and highest point of the print surface below 1.5 mm, and points out considerably more ink mist at distances above 2 mm. eufyMake also names height differences above 2 mm as a cause of blurry prints. For desktop machines, the exact values are in the manual. What helps: Measure the height again or set it manually. Check whether the automatic measurement has picked up the right point. Cause 2: uneven surfaces Many printers measure the height at the highest point of the object and print everything at that height. If part of the object is lower, it turns out blurry there. Typical cases: phone cases with a camera bump notebooks or folders with a raised corner slightly curved wooden discs or warped acrylic canvas that sags mugs and bottles that do not sit straight on the rotary attachment several objects of different heights in one pass What helps: Lay objects flat and fix them with tape, even out the heights with spacers, and print only objects of the same height per pass. Jigs suit curved parts and series, see Positioning accurately /uv druck/workfl"},{"t":"Bottles, cups and pens: UV printing on round objects","k":"UV printing · Materials","d":"Use the rotary attachment to print bottles, cups and pens. Diameters, conical shapes, alignment, the seam and tips for drinks bottles.","u":"/en/uv-printing/materials/uv-printing-bottles-cups-pens/","x":"A flatbed printer prints on flat things. For bottles, cups and pens you need a device that rotates the object during printing. This works well but has its own limits: diameter, shape and the point where the start and end of the design meet. The rotary attachment A rotary attachment holds the object horizontally under the print head. While the head prints in one direction, the attachment turns the object a little at a time. Instead of moving the plate, the surface is rolled off. There are two designs: Rollers: The object rests on two driven rollers and turns through friction. Simple and flexible, but light or slippery objects can slip. Chuck: The object is clamped at one or both ends and turned directly. More precise, but not suitable for every shape. For pens and small parts there are also jigs in which many pens lie side by side. These print only the top line, without rotation. Which diameters work? That depends heavily on the device. A few examples from manufacturer specifications: Device and attachment Diameter Further details eufyMake E1 with rotary attachment 40 to 100 mm length 80 to 245 mm, up to 1 kg, taper up to about 13 to 15° retailer specifications Mimaki Kebab UJF series 10 to 110 mm for industrial machines Procolored TX800 with cup attachment up to about 100 mm retailer specification, limited by the height under the print head These values change with new models. Check the current data sheet of your device. You will find an overview under UV printers /uv druck/drucker/ . The limits are set not only by the attachment but also by the printer's build height. A thick mug with a handle may fit under the head, but the handle collides as it turns. Conical shapes Many cups and bottles are not cylindrical but get narrower towards the bottom. This causes two problems: 1. Gap: The gap between the print head and the surface is smaller at the wide end than at the narrow end. Large differences cause blur and overspray. 2. Distortion: At the narrow end the circumference is smaller. A rectangular design is visually compressed there. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Conical cup lying flat: the gap to the print head grows towards the narrow end\" <text class=\"t\" x=\"16\" y=\"26\" Cone lying flat</text <rect class=\"tool\" x=\"60\" y=\"84\" width=\"70\" height=\"22\" rx=\"3\" opacity=\"0.35\"/ <rect class=\"tool\" x=\"190\" y=\"84\" width=\"70\" height=\"22\" rx=\"3\"/ <path class=\"part\" d=\"M50 114L290 138V202L50 226Z\"/ <path class=\"ink\" stroke width=\"1\" stroke dasharray=\"6 4\" opacity=\"0.6\" d=\"M36 170H304\"/ <path class=\"bad\" stroke width=\"1.8\" d=\"M275 106V135M271 112L275 106L279 112M271 129L275 135L279 129\"/ <text class=\"s bad t\" x=\"324\" y=\"74\" text anchor=\"end\" Gap grows</text <rect class=\"plate\" x=\"16\" y=\"238\" width=\"308\" height=\"12\" rx=\"3\"/ <text class=\"s bad t\" x=\"170\" y=\"276\" text anchor=\"middle\" narrow end: blurred, overspray</text </svg <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Goal: the attachment is tilted, the top of the cone is level and the gap is the same everywhere\" <text class=\"t\" x=\"16\" y=\"26\" Attachment tilted</text <rect class=\"tool\" x=\"60\" y=\"84\" width=\"70\" height=\"22\" rx=\"3\" opacity=\"0.35\"/ <rect class=\"tool\" x=\"190\" y=\"84\" width=\"70\" height=\"22\" rx=\"3\"/ <path class=\"part\" d=\"M50 114H290V178L50 226Z\"/ <path class=\"ink\" stroke width=\"1\" stroke dasharray=\"6 4\" opacity=\"0.6\" d=\"M36 171.4L304 144.6\"/ <path class=\"good\" stroke width=\"1.8\" d=\"M275 106V114\"/ <text class=\"s good t\" x=\"324\" y=\"74\" text anchor=\"end\" Same gap everywhere</text <rect class=\"plate\" x=\"16\" y=\"238\" width=\"308\" height=\"12\" rx=\"3\"/ <text class=\"s good t\" x=\"170\" y=\"276\" text anchor=\"middle\" Top edge is level</text </svg </div <figcaption Schematic side view. On the left, a conical cup lies flat in the attachment, and the gap to the print head grows towards the narrow end. On the right, the attachment is tilted so that the top edge lies level under the head.</figcaption </figure Some attachments can be tilted s"},{"t":"Brim, skirt or raft: what do you need when in 3D printing?","k":"3D printing · Settings","d":"Brim, skirt and raft compared: what each helper structure is for, which values work well and why you rarely need a raft today.","u":"/en/3d-printing/settings/brim-skirt-raft/","x":"Brim, skirt and raft are three helper structures that the slicer prints around or under your part. They look similar but have very different jobs. Anyone who mixes them up wastes material or keeps struggling with parts that come off the bed. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 300\" role=\"img\" aria label=\"Skirt runs around the part with a gap, brim sits as a flat edge directly against the part\" <text class=\"t\" x=\"16\" y=\"24\" Skirt: spaced apart</text <rect class=\"plate\" x=\"16\" y=\"104\" width=\"308\" height=\"12\" rx=\"3\"/ <rect class=\"part\" x=\"120\" y=\"44\" width=\"100\" height=\"60\" rx=\"2\"/ <path class=\"layer\" d=\"M120 54H220M120 64H220M120 74H220M120 84H220M120 94H220\"/ <rect class=\"part\" x=\"40\" y=\"97\" width=\"22\" height=\"7\"/ <rect class=\"part\" x=\"278\" y=\"97\" width=\"22\" height=\"7\"/ <path class=\"ink\" stroke width=\"1.3\" d=\"M66 84H116M66 79V89M116 79V89\"/ <text class=\"s\" x=\"91\" y=\"72\" text anchor=\"middle\" Gap</text <text class=\"t\" x=\"16\" y=\"156\" Brim: touching the part</text <rect class=\"plate\" x=\"16\" y=\"246\" width=\"308\" height=\"12\" rx=\"3\"/ <rect class=\"part\" x=\"120\" y=\"176\" width=\"100\" height=\"70\" rx=\"2\"/ <path class=\"layer\" d=\"M120 186H220M120 196H220M120 206H220M120 216H220M120 226H220M120 236H220\"/ <rect class=\"part\" x=\"62\" y=\"239\" width=\"58\" height=\"7\"/ <rect class=\"part\" x=\"220\" y=\"239\" width=\"58\" height=\"7\"/ <text class=\"s\" x=\"170\" y=\"282\" text anchor=\"middle\" flat edge in the first layer</text </svg <svg viewBox=\"0 0 340 300\" role=\"img\" aria label=\"Raft: the part stands on a multi layer platform with a small gap\" <text class=\"t\" x=\"16\" y=\"24\" Raft: part sits on top</text <rect class=\"plate\" x=\"16\" y=\"246\" width=\"308\" height=\"12\" rx=\"3\"/ <rect class=\"part\" x=\"60\" y=\"218\" width=\"220\" height=\"28\" rx=\"1\"/ <path class=\"layer\" d=\"M60 232H280\"/ <rect class=\"part\" x=\"60\" y=\"210\" width=\"220\" height=\"8\" rx=\"1\"/ <rect class=\"part\" x=\"120\" y=\"90\" width=\"100\" height=\"116\" rx=\"2\"/ <path class=\"layer\" d=\"M120 100H220M120 110H220M120 120H220M120 130H220M120 140H220M120 150H220M120 160H220M120 170H220M120 180H220M120 190H220M120 200H220\"/ <path class=\"ink\" stroke width=\"1.2\" d=\"M248 190L228 207\"/ <text class=\"s\" x=\"324\" y=\"186\" text anchor=\"end\" small gap</text <text class=\"s\" x=\"170\" y=\"282\" text anchor=\"middle\" several layers under the part</text </svg </div <figcaption Schematic. Top left, the skirt runs around the part with a gap, and below it the brim sits directly against the part. On the right, the part stands on a raft made of several layers.</figcaption </figure The three at a glance Skirt Brim Raft What is it? line around the part with a gap flat edge directly against the part multi layer platform under the part Touches the part? no yes, in the first layer yes, the part sits on it Main purpose prime the nozzle, check the first layer more adhesion area against lifting level out unevenness, very small contact area Material use very low low high Effect on the underside none small ridge at the edge rougher underside Needed today? optional often useful rarely Skirt: for priming A skirt is one or more lines that run around the part with some distance. It has no connection to the part and does not help with adhesion. What it is good for: The nozzle builds up pressure before the actual part starts. After just a few seconds you can see whether the first layer is right. What it should look like is covered in First layer not sticking /3d druck/probleme/erste schicht/ . Typical values: 1 to 3 lines, 3 to 6 mm distance from the part, one layer high. Many current printers print a purge line at the edge of the bed before every print anyway. In that case the skirt can be dispensed with, and some manufacturer profiles therefore have it off by default. Special case: draft shield Some slicers can extend the skirt over the full height of the part in PrusaSlicer \"Draft shield\" . It shields the part from draughts and can help with ABS and ASA in open printers. It does not replace an enclosed build chamber. Brim: against lifting A brim"},{"t":"Bubbles and craters in varnish: causes and fixes","k":"UV printing · Troubleshooting","d":"Tiny dots, bubbles or small craters in clear varnish after UV printing? How to tell defects from intended texture and narrow down the cause.","u":"/en/uv-printing/troubleshooting/varnish-bubbles-craters/","x":"A full coverage gloss varnish is meant to enhance the motif. Instead, tiny bubbles, bright dots or small craters show up in backlight. The cause is rarely the varnish itself, and usually the substrate, dust or the settings. A few tests will narrow it down well. How varnish works in general is covered in the article Varnish in UV printing /uv druck/tinten/lack/ . First, decide: defect or intended texture? Not every rough surface is a defect. In matt mode, UV varnish is deliberately cured immediately after it lands. The droplets cannot flow out and remain as a fine texture that scatters the light. In gloss mode, by contrast, the lamp cures a little later so that the varnish can level out. With relief and texture /uv druck/grundlagen/relief textur/ , too, the surface is meant to be uneven. This is how you tell the two apart: Feature Intended texture matt, texture Defect bubbles, craters Distribution even across the whole varnished area individual spots, clusters or only on certain materials Shape fine, regular grain round bubbles, rings with a dip in the middle, fluff Repeatability the same in every print changes from print to print or follows the material Setting matt or texture mode selected gloss mode selected, still uneven Look at the area in low angle backlight and with a magnifier. A bubble has a clear edge and looks like a cavity. A crater is a spot where the varnish has pulled back in a ring. Trapped dust shows up as a small bump with a particle in the middle. Diagnosis table Symptom Likely cause What helps Small bump with a particle or fluff Dust or fibres on the object or from the air Clean and dust the object, keep the print area clean Small craters, varnish pulls back in a ring Contamination that disturbs wetting grease, fingerprints, residues Clean with isopropanol, stop handling with bare fingers Bubbles concentrated on wood, MDF or other porous parts Air or moisture from the pores Sand, dust, store dry, seal the pores with a base layer Bubbles that increase with more varnish passes Varnish stays uncured for longer between passes Fewer layers, keep print time short, keep the room low in dust Uneven, orange peel like surface in gloss mode Varnish cures too early or too strongly, before it levels out Check gloss mode, try reducing lamp power if the device allows it Fine gaps, lines or dots without varnish Nozzle dropouts, often caused by air in the varnish line Nozzle check, cleaning, fill or flush the line Varnish flows poorly, looks thick and uneven Room or ink too cold Bring the room to the manufacturer's value, do not heat the ink directly Surface stays tacky Varnish not fully cured Check lamp and lamp glass, maintenance Cause 1: Dust, fluff and residues The most common cause. Every particle on the surface is enclosed by the varnish and becomes visible as a bump, because varnish follows every irregularity. Greasy spots such as fingerprints behave differently: the varnish wets the surface poorly there and pulls back. This is how small craters form. For paint defects such as craters, the Fraunhofer IPA names exactly these two groups: particle inclusions and contamination that disturbs wetting. What helps: Clean the surface with isopropanol and a lint free cloth before printing, as eufyMake also recommends After that, handle it only by the edges Peel off protective films only right before printing and remove adhesive residue Keep the print area low in dust, and do not do any work producing sanding dust nearby Mimaki describes a further point for its devices: the longer the clear varnish sits open between application and full curing, the more time dust and air bubbles have to settle, and the less glossy the result is. Cause 2: Porous materials such as wood and MDF Wood and MDF have pores that hold air and residual moisture. When liquid varnish lands on them, this air can rise and stay trapped in the varnish as bubbles. Manufacturers of UV curing resins describe the mechanism like this: air in the pores expands in the "},{"t":"Build plates compared: smooth PEI, textured PEI and glass","k":"3D printing · Accessories","d":"Which build plate suits which material? Types, adhesion, release agents, underside finish, care, lifespan and what to look for when buying.","u":"/en/3d-printing/accessories/build-plates/","x":"The build plate helps decide whether the first layer sticks and whether the print can be released afterwards. It also determines what the underside of your part looks like. A second plate is therefore one of the most useful accessories, but only if it suits your materials. The main types Smooth PEI A thin PEI sheet on a spring steel plate. PLA, ABS and ASA stick very well, and the underside becomes smooth and slightly glossy. With PETG and some TPU types, adhesion is too strong: without a release layer, the print tears pieces out of the sheet. On its smooth plate, Bambu Lab advises glue for all materials except PLA. Textured PEI powder coated Here the PEI is fused on as a powder, and the surface is rough. Most everyday materials stick without any aids and come off almost by themselves after cooling. PETG and TPU work well. The underside gets a fine, matt texture. For beginners this is usually the most uncomplicated plate. Satin plates work in a similar way. They sit between smooth and textured and produce a finely matt underside. Cool Plate and Engineering Plate These are manufacturer names, mainly from Bambu Lab. A Cool Plate is intended for PLA at a low bed temperature and gives a smooth underside. The original version needs glue, while newer variants with a particularly adhesive surface manage without. An Engineering Plate has a hard, smooth coating and is intended for engineering materials. The manufacturer specifies glue for every material here. Glass A glass or mirror plate is very flat and gives a mirror smooth underside. PLA sticks well to clean, warm glass. PETG can bond so firmly that splinters break out of the glass when it is released, so a glue stick as a release layer is a must. Disadvantages: glass is heavy, heats up more slowly and cannot be flexed. On current printers with a magnetic bed, glass hardly plays a role any more. G10 Garolite A glass fibre reinforced epoxy laminate, matt and hard. It is the classic surface for nylon, which sticks poorly to many other plates. PLA and PETG work too, ABS and ASA rather less well. The underside turns matt. G10 comes as a thin sheet to stick onto spring steel, or as a solid plate. Magnetic sheets and specialist plates Inexpensive magnetic print sheets with a plastic coating often come with older printers. They work decently with PLA, but wear out faster and tolerate less heat. There are also specialist plates, for example for PP, nylon or high temperature materials such as PEEK. Which material on which plate? Guide values. The plate manufacturer's material table always takes priority. Material Smooth PEI Textured PEI Glass G10 Engineering Plate PLA good, no release agent good good good with glue PETG only with glue stick as release layer good only with release layer good with glue TPU with release layer usually good with glue good with glue ABS, ASA good, often with glue good with glue fair with glue PA nylon with glue with glue poor very good with glue PC with glue with glue poor fair with glue A glue stick has two jobs: with nylon and PC it improves adhesion, and with PETG on smooth PEI it protects the plate. In both cases a thin layer is enough. You can find more on the materials under Nylon /3d druck/filamente/nylon/ and Polycarbonate /3d druck/filamente/polycarbonat/ . Underside finish The plate stamps the underside of your print like a die. Smooth PEI, Cool Plate, Engineering Plate: smooth, glossy or silky matt depending on the coating Glass: mirror smooth Textured PEI: evenly rough and matt, small scratches on the part are hardly noticeable Satin: finely matt G10: matt, slightly textured There are also plates with patterns, such as carbon fibre looks or starry skies. The pattern transfers to the underside. Care Grease is the biggest enemy. Do not touch the print surface with your fingers. For in between, use isopropanol of at least 90 % on a lint free cloth. Warm water with washing up liquid cleans more thoroughly. Dry well afterwards. Acetone only if the manufact"},{"t":"Burn Marks When Laser Cutting: Avoiding Scorching and Smoke Streaks","k":"Laser · Troubleshooting","d":"Dark edges, yellow smoke streaks, stains on the back? Where laser burn marks come from, how masking tape helps and how to remove them afterwards.","u":"/en/laser/troubleshooting/laser-burn-marks/","x":"The engraving is right, but a brown haze spreads across the wood around it. Or the cut edges are clean, and the back has dark stains in the pattern of the honeycomb bed. Burn marks almost always have one of a few causes, and most of them can be fixed with settings and a little preparation. Which mark do you have? Appearance Likely cause Wide, dark edge right at the cut or engraving Too much energy per area: power too high or speed too low Yellowish brown haze in one direction Smoke streak, smoke is drawn across the workpiece Sticky, glossy coating Resin and tar from the smoke, common with plywood and MDF Dots or a grid on the underside Reflections from the honeycomb bed or residue on it Flames when cutting, charred edges No air assist or air assist too weak Cause 1: Too much energy Burn marks on the edges occur when more energy goes into the material than is needed for the cut or engraving. The excess heat chars the material next to the line. What helps: Increase the speed before you lower the power. It is often better to cut faster with more passes than slowly in one. Several fast passes instead of one slow one. Each pass introduces less heat at once. Check the line spacing for area engraving. If the lines are too close together, they overlap and the material burns across the whole area. Check the focus. An unfocused spot spreads the energy over a larger area and burns wider. Which values suit depends heavily on the machine and material. A 10 W diode laser needs completely different values on plywood than a 40 W diode laser or a CO₂ machine with 40 to 55 W. Laser a test grid /laser/einstellungen/materialtest/ with different combinations and take the field with the cleanest edge. Cause 2: No air assist or air assist too weak Air assist blows a jet of air directly onto the laser spot. It puts out small flames, pushes the smoke out of the cut and keeps the lens clean. Without air assist, dark edges almost always appear when cutting. When cutting , set air assist to full strength. When engraving , less air is often better. Too much pressure swirls the smoke across the surface and creates a haze. Many programs switch air assist per layer, LightBurn for example through the layer settings. The nozzle must sit centrally over the spot and be free of deposits. Some machines have air assist built in, such as the xTool M2 /laser/geraete/xtool m2/ or the Creality Falcon2 22W /laser/geraete/creality falcon2 22w/ . On others, such as the xTool S1 20W /laser/geraete/xtool s1 20w/ , it is an accessory. Details in the article Air assist /laser/einstellungen/air assist/ . Cause 3: Smoke streaks Yellow brown streaks that all point in the same direction are caused by the airflow. The extraction draws the smoke across the workpiece, and resin settles on the surface. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Smoke streak: the extraction draws the smoke flat across the workpiece, resin settles as a haze\" <text class=\"t\" x=\"16\" y=\"26\" Smoke drifts over the workpiece</text <rect class=\"tool\" x=\"80\" y=\"56\" width=\"40\" height=\"34\" rx=\"3\"/ <path class=\"tool\" d=\"M84 90H116L110 98H90Z\"/ <path class=\"fil\" stroke width=\"2.5\" d=\"M100 98V200\"/ <rect class=\"part\" x=\"24\" y=\"200\" width=\"262\" height=\"30\" rx=\"2\"/ <rect class=\"plate\" x=\"16\" y=\"230\" width=\"308\" height=\"12\" rx=\"3\"/ <rect class=\"tool\" x=\"294\" y=\"140\" width=\"30\" height=\"60\" rx=\"3\"/ <path class=\"bad\" stroke width=\"1.6\" d=\"M104 196C140 186 170 192 200 186C230 180 260 188 290 180M104 192C130 176 170 182 210 172C240 166 266 172 290 166\"/ <path class=\"bad\" stroke width=\"5\" opacity=\"0.5\" d=\"M118 202.5H282\"/ <text class=\"s\" x=\"324\" y=\"130\" text anchor=\"end\" Extraction</text <text class=\"s bad t\" x=\"170\" y=\"268\" text anchor=\"middle\" Haze in the direction of flow</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Goal: the extraction draws the smoke upwards and away, the surface stays clean\" <text class=\"t\" x=\"16\" y=\"26\" Goal: smoke up and away</text <"},{"t":"Buying a filament dryer: what really matters","k":"3D printing · Accessories","d":"Dry box, food dehydrator or multi-colour system with heating? The types of device and buying criteria from temperature to noise, with typical price ranges.","u":"/en/3d-printing/accessories/filament-dryer-buying-guide/","x":"Damp filament crackles, strings and makes brittle parts. A filament dryer solves this more reliably than an oven or a radiator. The devices differ greatly, though, and the most important difference is often only in the small print: the maximum temperature. Which temperature and time each material needs is covered in the article Drying and storing filament /3d druck/filamente/trocknen/ . This article is about which device is suitable for the job. Specific models with temperature, spool count and price are in the filament dryer comparison /3d druck/zubehoer/filamenttrockner vergleich/ . The types of device Dry box with heating The most common form: a box for one to four spools with a heating element, fan, temperature controller and usually a timer. The spool rests on rollers, and the filament can run straight out through an opening to the printer. Simple single spool models often only reach 50 to 70 °C. Larger or higher quality devices manage 80 to 85 °C, and a few models over 100 °C. Converted food dehydrator A fruit dehydrator with round trays. To make a spool fit inside, you take out trays or print a ring extension. This is cheap and often surprisingly effective, because dehydrators are well ventilated. Drawbacks: the temperature display is often inaccurate, many devices only go up to about 70 °C, and printing directly from the device is not intended without modification. Dryer with feed through for printing Many dry boxes have an opening with a tube connector. This way you dry and print at the same time, and the spool stays warm and dry throughout the print. This is especially handy with nylon, PVA and TPU, which absorb moisture again after only hours in the air. Look for free running rollers, otherwise the resistance at the extruder goes up. Drying integrated into the multi colour system Some multi colour systems heat the spool compartment. This saves a device and space. The temperature limits differ, though: according to manufacturer figures, systems such as Bambu Lab's AMS 2 Pro and Anycubic's ACE 2 Pro reach up to 65 °C, and the single spool AMS HT variant up to 85 °C. With the AMS 2 Pro, the maximum value only applies in a sufficiently warm environment. That is enough for PLA, PETG and TPU, but not always for nylon and PC. More on these systems under Multi colour printing /3d druck/grundlagen/mehrfarbdruck/ . Buying criteria Maximum temperature The most important criterion. For PLA, PETG and TPU, 55 to 65 °C is enough. For ABS and ASA, but above all for nylon /3d druck/filamente/nylon/ and polycarbonate /3d druck/filamente/polycarbonat/ , you need 70 to 80 °C. Check two things here: Is the temperature in the data sheet or only on the packaging? Some figures refer to the heating element temperature, not the air at the spool. Is it reached at normal room temperature? In a cold cellar, a weak device often manages significantly less. A cheap thermometer in the box shows you what actually arrives. With spools made of cardboard or thin plastic, pay attention to their temperature limit. Number of spools One spool is enough if you mostly print one material. For multi colour printing or several printers, two to four spools are practical. Some devices with four slots have two separate chambers, so you can dry two materials at different temperatures. Also check whether 1 kg and 2 kg spools and wide cardboard spools fit inside. Active air circulation and moisture removal Heat alone does not dry. The moisture has to leave the box, otherwise the humidity inside rises and the filament absorbs it again as it cools. Look for a fan that circulates the air, and for vents or a valve that carries away humid air. Devices without a fan often heat unevenly: the outside of the spool is warm, the inner layers hardly. Hygrometer A built in humidity sensor shows whether the drying is working. The values are a rough guide, not an exact measurement of the filament. If it is missing, a small digital hygrometer for a few euros will do. Spool rollers B"},{"t":"Buying used or refurbished: 3D printers, lasers, UV printers","k":"3D printing · Buying guide","d":"Private sale, dealer or manufacturer refurbished: what the statutory and manufacturer's warranty cover, which wear parts to check, and what matters for resin printers, lasers and UV print heads.","u":"/en/3d-printing/buying-guides/buying-used/","x":"A used machine can save a lot of money. But it can also get expensive if a worn print head, an aged laser tube or a tired display has to be replaced right after you buy it. This article shows what the law says, which official refurbished offers we were able to verify, and what you should check on 3D printers, resin printers, lasers and UV printers. Statutory warranty and manufacturer's warranty: the difference The Verbraucherzentrale German consumer advice centre makes a clear distinction: The statutory warranty Gewährleistung is a legal right against the seller. If the goods had a defect at handover, the seller must repair or replace them. The manufacturer's warranty Garantie is a voluntary service from the manufacturer or dealer. What it covers and how long it lasts is decided by whoever gives the warranty. When buying used, a lot depends on who you buy from: Private sale Dealer Manufacturer refurbished Statutory warranty may be excluded entirely. What the description says must still be true. 2 years, can be shortened to 1 year for used goods same as with a dealer, the manufacturer is the seller here Burden of proof the reversal of the burden of proof only applies when buying from a business § 477 BGB in the first 12 months the seller must prove that the defect was not already there at handover same as with a dealer Withdrawal for online purchases no statutory right of withdrawal 14 days 14 days Manufacturer's warranty only if it is transferable and still running depends on the offer own terms for refurbished machines If a seller fraudulently conceals a defect, you still have claims for three years from the point you learn of it, according to the Verbraucherzentrale, regardless of what was agreed. This overview is a general guide and not legal advice. Manufacturer's warranty on a private purchase: Whether it passes to the new owner is decided by each manufacturer. Two examples: at Snapmaker, according to the warranty terms, the warranty is tied to the machine, not to the first buyer, and a later owner can use the remaining term with the serial number. At Atomstack, according to the terms, the warranty is not transferable and requires proof of purchase from the manufacturer or an authorised dealer. So always ask for the original invoice on a private purchase. Official refurbished offers \"Refurbished\" means the machine was used or returned, was checked, repaired if necessary, and is being sold again. What exactly that means is up to each provider. We were able to verify these programmes as of 16.10.2026: Provider Warranty on refurbished according to the manufacturer Notes Formlabs SLA printers the same one year warranty as a new machine tested to the same standards as new machines, minor cosmetic flaws possible, no extended service plans xTool EU shop 24 months on the main parts, the same as for new machines according to the product page machine tested, repaired and fully functional, slight signs of use are not grounds for a complaint. Exchange only for refurbished. Atomstack 3 months exchange only for refurbished machines, not for new stock eufyMake the term is stated on the respective refurbished product page cosmetic flaws are excluded from the warranty For xTool, the product page says \"14 Day Return Policy\" but also states that returns after delivery are only possible if there is a defect. When buying online as a consumer, you generally have a 14 day right of withdrawal against a commercial seller. Clarify before buying how the provider handles this. What to check on every machine Invoice and serial number: Do they match the machine? No invoice means no warranty, see above. Demonstration: Ideally have a test print or test job run on site. For shipped items: a video from the seller with the serial number visible. Accessories: Power supply, build plate, vat, safety glasses, exhaust hose, software licence. Missing parts often cost more than expected. Is the model still on sale? For discontinued models, the supply of spare par"},{"t":"Calculating 3D print costs: filament, electricity, cost per hour","k":"3D printing · Basics","d":"How to work out the cost of a print yourself: filament, electricity, wear and failed prints, with a worked example for a 50 g part.","u":"/en/3d-printing/basics/print-cost-calculator/","x":"A printed part usually costs less than you think, but more than just the filament. Anyone who sells parts, prints for others or simply wants to know whether a print is worth it should know four items: material, electricity, wear and failed prints. Here is how to calculate them. 1. Filament This is the biggest and easiest item to calculate. After slicing, the slicer shows you how many grams a print needs, including supports, brim and, with multi colour printing, the purge waste. Formula: price per kg ÷ 1000 × grams Example: a 1 kg spool of PLA for €20 and a part weighing 50 g: €20 ÷ 1000 × 50 g = €1.00 Typical prices for 1 kg of PLA or PETG are around €12 to €30. Engineering materials such as nylon, PC or fibre reinforced filaments cost considerably more, often €30 to €140 per kg. All materials at a glance: What does which filament cost? /3d druck/filamente/ was kostet welches filament Calculate with your actual spool price including shipping. 2. Electricity A 3D printer uses less electricity than many people assume. It only draws its highest power briefly while heating up, after which it holds the temperature with considerably less. Manufacturer measurements as a guide: Printer type Average while printing Small open printer, PLA about 80 W Mid sized open or enclosed printer, PLA about 95 to 110 W Same printer with ABS hotter bed about 120 W Large printer or two nozzles, PLA about 185 to 200 W The values come from the Bambu Lab Wiki and the Prusa Knowledge Base, measured at room temperature. Printers with an actively heated chamber and large print beds at high temperatures draw more. As a rule of thumb for the calculation, use 100 W for PLA and 150 to 200 W for ABS, ASA or large machines . If you want to know exactly, measure with a plug in power meter. According to the BDEW electricity price analysis, the average electricity price for households in Germany in 2026 was 37.0 cents per kWh. It is best to use the price from your own contract. Formula: power in kW × hours × electricity price Example: 100 W, 3 hours, €0.37/kWh: 0.1 kW × 3 h × €0.37 = €0.11 Standby consumption is added if the printer stays switched on permanently. Depending on the machine that is about 4 to 10 W, more on large machines. Over a year it adds up: 6 W around the clock comes to about 53 kWh, so just under €20. 3. Wear and spare parts Nozzles, build plates, PTFE tubes, belts and fans wear out. Individually these are small amounts, but they come up regularly. The simplest way is to calculate with a flat rate per print hour. Here is how to arrive at your flat rate: estimate what you spend on spare parts per year and divide it by your print hours. Example: €50 of spare parts over 500 print hours a year comes to €0.10 per hour . If you print a lot with abrasive filaments, you use more nozzles and end up higher. Abrasive means that fillers such as carbon or glass fibres, metal powder or glow pigments wear down the nozzle from the inside like fine sandpaper. A brass nozzle wears out considerably faster that way than with PLA or PETG. If you want to include the purchase of the printer, for example because you sell parts, divide the purchase price by the hours you realistically expect it to run. A €600 printer spread over 3,000 print hours comes to €0.20 per hour. For hobby prints most people leave this item out. What you service and replace regularly is covered in Maintaining a 3D printer /3d druck/grundlagen/wartung/ . 4. Failed prints Not every print works. A first layer that comes loose, a clogged extruder or wrongly placed supports cost material and time. The calculation becomes more honest with a surcharge on material and electricity: 5 to 10 % if your printer runs reliably and you print familiar models 15 to 20 % for new models, new materials or large parts These values are rules of thumb, not measured figures. It is best to keep records for a while, and then you will know your own rate. Cost per print hour Many people prefer to work with an hourly rate. Th"},{"t":"Calibrating a 3D printer: flow, pressure advance and input shaping","k":"3D printing · Settings","d":"In what order to calibrate, what flow, pressure advance, retraction and input shaping do, and what modern printers already take care of themselves.","u":"/en/3d-printing/settings/calibrating-3d-printer/","x":"A good standard profile gets you a long way. But if corners bulge, top surfaces have grooves or walls are not quite closed, the cause is often values that do not quite suit the material or the printer. A few calibrations let you get these values under control. The order matters, because the settings build on each other. The order The OrcaSlicer documentation recommends this sequence: Step Calibration What it sets 1 Temperature best nozzle temperature for the filament 2 Maximum volumetric flow how much material the hotend can handle per second 3 Pressure advance pressure compensation in the nozzle during speed changes 4 Flow how much material is fed in total 5 Retraction pull back against stringing 6 Input shaping compensation for vibrations of the mechanics In older guides, flow often comes before pressure advance. The two influence each other a little. If you notice after the flow calibration that the corners are no longer right, simply do pressure advance again. Temperature, volumetric flow, pressure advance, flow and retraction depend on the filament and are saved in the filament profile. Input shaping depends only on the mechanics and applies to all materials. 1. Temperature With a temperature tower you print several sections at different temperatures and compare surface, bridges and strings. How this works and which ranges are usual for which material is covered in Setting the print temperature /3d druck/einstellungen/drucktemperatur/ . 2. Maximum volumetric flow This test shows at what amount per second the hotend can no longer keep up. By default OrcaSlicer starts at 5 mm³/s and increases to 20 mm³/s in steps of 0.5. You measure the height at which the surface gets worse, and calculate: Volumetric flow = start value + measured height in mm × step size Example: defects from 19 mm height give 5 + 19 × 0.5 = 14.5 mm³/s. From this you subtract 10 to 20 % as a reserve. Why this value is so important is explained in Print speed /3d druck/einstellungen/druckgeschwindigkeit/ . 3. Pressure advance Filament is slightly compressed in the extruder. When the print head accelerates, the material arrives late, and when it brakes, the material keeps pushing. The result: corners bulge, line starts are thin, the seam is untidy. Pressure advance called \"Linear Advance\" in Marlin and \"Flow Dynamics\" at Bambu Lab, the value is often called K compensates for this by having the extruder push forward slightly when accelerating and pull back slightly when braking. OrcaSlicer offers three tests: Lines: fastest, but strongly dependent on a good first layer. Pattern: angles made of several lines, easy to assess, several tests possible on one plate. Tower: independent of the first layer. You look for the height with the cleanest corners and calculate start value + step size × height. On Marlin printers, Linear Advance has to be enabled in the firmware. That is not the case with every model. 4. Flow The flow also flow ratio or extrusion multiplier scales the total amount fed. Too low leads to gaps and weak parts, see Under extrusion /3d druck/probleme/unterextrusion/ . Too high leads to bulges and oversized dimensions. With the test in the slicer OrcaSlicer prints several small blocks with different flow values. You look for the block with the smoothest top surface without gaps. With the recommended \"YOLO\" test the calculation is simple: new flow = old flow + value of the best block. 0.98 and +0.01 becomes 0.99. The classic way with calipers Without a built in test it works like this: print a cube with only one wall and no top. Measure the wall thickness in several places and take the average. Then: new flow = old flow × target wall thickness ÷ measured wall thickness Example: 1.00 is set and a line width of 0.45 mm. You measure 0.48 mm. New flow: 1.00 × 0.45 ÷ 0.48 ≈ 0.94. This method is less accurate, because even small measuring errors make a big difference. 5. Retraction Retraction prevents strings during travel moves. The test prints several to"},{"t":"Can I sell 3D prints? Licences explained simply","k":"3D printing · 3D models","d":"Creative Commons, platform licences and commercial subscriptions explained: when you may sell prints or modify models, and where the limits are.","u":"/en/3d-printing/3d-models/licences/","x":"Downloading a model for free does not mean you can do whatever you like with it. Every model belongs to its designer, and the licence sets out whether you may modify it, pass it on or sell prints of it. So anyone who wants to offer prints at markets, on Etsy or in their own shop should read the licence before printing. This article is not legal advice. It explains the basic terms. If in doubt, ask the designer directly or get advice from a specialist lawyer in copyright and media law. Creative Commons: the four building blocks Most free models are under a Creative Commons CC licence. It is made up of building blocks: BY attribution : You must credit the designer. Included in all CC licences. SA share alike : If you modify the model and share it, your version must be under the same licence. NC non commercial : Non commercial use only. Creative Commons defines this as use that is not primarily intended for commercial advantage or payment. Selling printed parts clearly falls under it. ND no derivatives : You may modify the model for yourself, but you may not pass on the modified version. There is also CC0 : the designer waives their rights as far as possible. You may do anything with it, even without attribution. What can I do with which licence? Licence Sell prints Modify and share remixes Condition CC0 yes yes none CC BY yes yes credit the designer CC BY SA yes yes credit the designer, remix under the same licence CC BY ND yes no credit the designer, only pass on unmodified CC BY NC no yes credit the designer, non commercial CC BY NC SA no yes credit the designer, non commercial, same licence CC BY NC ND no no credit the designer, non commercial, unmodified Two points are often overlooked: A remix takes on the licence of the original. If you modify an NC model, you may not sell your version either, no matter how much you changed. CC licences are irrevocable. If a designer has published a model under CC BY, that continues to apply to this version even if they later change the licence. If in doubt, take a screenshot of the licence at the time of download. Platform specific licences Some platforms have their own licences alongside Creative Commons. On MakerWorld, for example, there is the \"Standard Digital File License\". It does not allow commercial use, passing on the file or remixes. Other platforms have similar models. In such a case, read the licence text on the platform, because it is usually narrower than a CC licence. Commercial licences and subscriptions Many designers offer permission to sell in return for payment. This usually works in two ways: Individual commercial licence: You buy a model together with the right to sell prints of it. Seller subscription: Through memberships on platforms such as Printables, Thangs, MyMiniFactory or Patreon you get access to models and often a selling licence. Each designer sets the terms themselves. Typical restrictions are a maximum number of prints sold, physical prints only rather than files, a duty to credit the designer in the shop, or the licence only applying while the subscription runs. Read the terms carefully before you spend any money. Important: buying a model does not automatically mean you may also sell prints of it. Buying the file and being allowed to sell the prints are two different things. If a model is only under NC, you can write to the designer. Many allow selling for a small fee or a share of the revenue. Your own designs It is easiest with models that you design yourself. You hold the rights to them and decide yourself whether you sell them or under which licence you publish them. How to get started with designing is covered under Creating your own 3D models /3d druck/3d modelle/modellieren lernen/ . Be careful with remixes: if you took someone else's model as a basis, its licence continues to apply. Characters, logos and trademarks This is where it gets tricky. Characters from films, series and games are almost always protected by copyright, and names and logos"},{"t":"Carbon Fibre Filament (CF/GF): Properties, Nozzle, Limits","k":"3D printing · Filaments","d":"What carbon and glass fibres do in filament, why they do not automatically make parts stronger and why a hardened nozzle is a must.","u":"/en/3d-printing/filaments/carbon-fibre-filament/","x":"Filaments with \"CF\" or \"GF\" in the name contain short, chopped carbon or glass fibres. They are often regarded as the \"strong\" version of a material. That is only partly true: the fibres mainly make parts stiffer and more dimensionally accurate, not automatically stronger under load. And they wear out a normal nozzle in a short time. What the fibres do More stiffness: Parts bend less under load. This is the main reason for CF filaments, for example for brackets, frames or jigs. Less warping: The fibres hinder shrinkage as the material cools. This is a big advantage especially with nylon. PA CF is often much easier to print than pure PA. Better dimensional accuracy: Parts stay closer to the nominal size. Matt look: Layer lines are less noticeable, the surface looks refined and even. Less weight: Carbon is light, and parts become somewhat lighter at the same stiffness. What the fibres do not do The fibres in the filament are very short, mostly only fractions of a millimetre. This has little to do with the continuous fibres of a real carbon part, such as a bicycle frame. Tests also show that, compared with the base material, the tensile strength of CF filaments often even drops, especially between the layers. The fibres do not bond with the plastic. If they lie exactly at the layer boundary, they weaken the bond rather than help. In tests, the loss was greater with PETG CF than with PLA CF. In addition, many CF parts become more brittle. They are more likely to break instead of bending first. In short: CF and GF are worthwhile if a part is to be stiff, dimensionally accurate and low warp. If it has to withstand impacts or tension, the base material without fibres is sometimes the better choice. You can often get more strength more simply with more walls, see Walls and top layers /3d druck/einstellungen/waende deckschichten/ . Carbon or glass? Carbon fibre CF Glass fibre GF Stiffness very high high Toughness rather brittle tends to give way before it breaks Weight lighter heavier Colours almost only black and dark tones many colours possible Price higher usually cheaper Nozzle wear heavy heavy A hardened nozzle is a must Carbon and glass fibres act like an abrasive in the nozzle. A normal brass nozzle visibly widens after comparatively little material. The consequences are inaccurate dimensions, under extrusion and strings. Manufacturers therefore explicitly require a hardened nozzle for CF and GF filaments, for example one made of hardened steel. Many current printers have such a nozzle from the factory, and on others it can be retrofitted cheaply. Check this in your printer's data sheet. If it only says \"brass\" or \"stainless steel\", the nozzle is not intended for CF and GF. Good to know: The extruder can also wear if the drive gears are not hardened. With occasional use this is usually no problem, but with a lot of CF printing it is worth a look. Nozzle size: 0.4 or 0.6 mm? The fibres can catch in narrow nozzles and clog them. Many manufacturers give 0.4, 0.6 and 0.8 mm as suitable, and for fibre reinforced nylon 0.6 mm is often explicitly recommended. 0.4 mm: finer details, but a higher risk of the nozzle clogging 0.6 mm: less clogging, faster printing, somewhat coarser details. Usually the better choice for functional parts. 0.2 mm: unsuitable for fibre reinforced filaments The common base materials Material Typical nozzle Typical bed Use PLA CF 210 to 240 °C 45 to 65 °C stiff parts, looks, open printer possible PETG CF 240 to 270 °C 60 to 80 °C stiff, somewhat more heat resistant than PLA CF PA CF, PA GF 260 to 300 °C 100 to 120 °C technical parts, heat, wear The values come from manufacturers' figures and vary by brand. The spool takes priority. The same rules as for nylon also apply to PA CF: dry before every print, enclosed printer. Details in the article Printing nylon PA /3d druck/filamente/nylon/ . Fibre reinforced filaments should also be dry. Typical figures: PLA CF like PLA, PETG CF at around 65 °C, PA CF at around 8"},{"t":"Choosing the right layer height: quality versus print time","k":"3D printing · Settings","d":"Which layer height suits your print? How layer thickness, nozzle, print time and strength relate, and when variable layer heights are worthwhile.","u":"/en/3d-printing/settings/layer-height/","x":"Layer height determines how thick each printed layer is. It is the setting with the greatest influence on print time and appearance. Thin layers look finer but take much longer. Thick layers are fast but show visible steps. The rules of thumb Standard with a 0.4 mm nozzle: 0.2 mm. This is the best compromise for most prints. Upper limit: about 75 to 80 % of the nozzle diameter, so around 0.3 mm for 0.4 mm. Lower limit: about 25 % of the nozzle diameter, so around 0.1 mm for 0.4 mm. Going thinner brings hardly any visible gain with FDM. Halving the layer height roughly doubles the print time. Which layer height for what? Layer height 0.4 mm nozzle Typical for Print time 0.08 to 0.12 mm figures, fine details, round surfaces very long 0.16 mm good appearance at a reasonable time long 0.20 mm standard for almost everything medium 0.24 to 0.28 mm functional parts, prototypes, large parts short With larger nozzles, the values shift accordingly. A 0.6 mm nozzle prints well at 0.3 to 0.4 mm. Where layer height becomes visible On vertical walls , you can hardly see any difference between 0.12 and 0.2 mm. Layer height becomes clearly visible on sloping and round surfaces , for example on a dome or a face. There, thick layers produce visible stair steps. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Dome made of thick layers with coarse stair steps\" <text class=\"t\" x=\"16\" y=\"24\" Thick layers</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"12\" rx=\"3\"/ <path class=\"part\" d=\"M50.6 240H289.4V216.0H284.5V192.0H273.9V168.0H255.7V144.0H222.3V120.0H117.7V144.0H84.3V168.0H66.1V192.0H55.5V216.0H50.6V240.0Z\"/ <path class=\"layer\" d=\"M50.6 216.0H289.4M55.5 192.0H284.5M66.1 168.0H273.9M84.3 144.0H255.7\"/ <path class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"4 4\" opacity=\"0.7\" d=\"M50 240A120 120 0 0 1 290 240\"/ <text class=\"s bad t\" x=\"170\" y=\"276\" text anchor=\"middle\" visible stair steps, fast</text </svg <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Dome made of thin layers with fine steps\" <text class=\"t\" x=\"16\" y=\"24\" Thin layers</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"12\" rx=\"3\"/ <path class=\"part\" d=\"M50.1 240H289.9V232.0H289.4V224.0H288.3V216.0H286.7V208.0H284.5V200.0H281.6V192.0H278.1V184.0H273.9V176.0H268.9V168.0H262.9V160.0H255.7V152.0H247.0V144.0H236.3V136.0H222.3V128.0H200.7V120.0H139.3V128.0H117.7V136.0H103.7V144.0H93.0V152.0H84.3V160.0H77.1V168.0H71.1V176.0H66.1V184.0H61.9V192.0H58.4V200.0H55.5V208.0H53.3V216.0H51.7V224.0H50.6V232.0H50.1V240.0Z\"/ <path class=\"layer\" d=\"M50.1 232.0H289.9M50.6 224.0H289.4M51.7 216.0H288.3M53.3 208.0H286.7M55.5 200.0H284.5M58.4 192.0H281.6M61.9 184.0H278.1M66.1 176.0H273.9M71.1 168.0H268.9M77.1 160.0H262.9M84.3 152.0H255.7M93.0 144.0H247.0M103.7 136.0H236.3M117.7 128.0H222.3\"/ <path class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"4 4\" opacity=\"0.7\" d=\"M50 240A120 120 0 0 1 290 240\"/ <text class=\"s good t\" x=\"170\" y=\"276\" text anchor=\"middle\" finer steps, much longer</text </svg </div <figcaption Schematic view. The dashed line is the desired curve. On the left, thick layers form coarse steps, while on the right thin layers follow the shape much more closely.</figcaption </figure Variable layer height Many slicers can vary the layer height within a model: thin layers on sloping areas, thick layers on vertical ones. This saves a lot of time with almost the same appearance. The function is usually called \"Variable layer height\" or \"Adaptive layer height\" and can be calculated automatically or adjusted by hand. And what about strength? The layer boundaries are the weakest point of an FDM print. Layer height alone, however, hardly makes a part stronger or weaker. Much more important for strength are: the number of walls the right printing temperature /3d druck/einstellungen/drucktemperatur/ for good layer adhesion the orientation of the part on the print bed, so that the forces do not act across the layers The first layer The f"},{"t":"Clogged nozzle: identifying the causes and clearing it","k":"3D printing · Troubleshooting","d":"Little or no material coming out of the nozzle? How to tell whether the nozzle is clogged, how to clean it and how to prevent clogs in future.","u":"/en/3d-printing/troubleshooting/clogged-nozzle/","x":"A clogged nozzle is one of the most common problems in 3D printing, and usually no reason to panic. In most cases it can be cleared again with simple means. With printers that have a quick change hotend, replacing it is also done in a few minutes if in doubt. Safety first: The hotend gets hotter than 200 °C. Work with gloves or tongs, do not touch the heater block and follow your manufacturer's instructions. For many printers, taking the hotend apart is described in the maintenance guide. How can you tell a nozzle is clogged? When loading filament, nothing at all or only a thin, curled thread comes out of the nozzle The extruder clicks or rattles because the gear slips The print suddenly shows severe gaps or fails The filament shows ground away spots where the gear has slipped A partial clog often looks like under extrusion /3d druck/probleme/unterextrusion/ . Typical causes Heat creeping upwards: If the filament softens above the nozzle, it sticks there. This often happens with PLA in enclosed, warm printers. Too much retraction: Soft material is pulled back into cold areas and solidifies there. Dirt or foreign bodies: Dust on the filament, burnt residue or particles from filled filaments. Changing material without purging: If a residue is left in the nozzle after a high temperature material such as PETG or ABS and printing continues with PLA at a low temperature, it can harden. Temperature too low for the material. Clearing the nozzle, from simple to involved 1. Push through hot Heat the nozzle to the material's printing temperature; going slightly above usually does no harm. Push filament in by hand. Often a small plug comes loose this way. 2. Cold pull A proven method for pulling residue out of the nozzle: 1. Heat the nozzle to printing temperature and push some filament through. 2. Lower the temperature significantly, to about 90 to 110 °C for PLA. The filament becomes tough but not hard. 3. Pull the filament out with a firm, steady pull. 4. An impression of the inside of the nozzle with the contaminants should be hanging on the tip. 5. Repeat until the tip looks clean. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Clogged nozzle in section: a residue at the nozzle opening blocks it even though the extruder keeps pushing filament\" <text class=\"t\" x=\"16\" y=\"26\" Clogged nozzle</text <path class=\"part\" d=\"M159 44V200L167 230H173L181 200V44Z\"/ <path class=\"tool\" d=\"M110 130H158V200L166 236V250H158L110 210Z\"/ <path class=\"tool\" d=\"M230 130H182V200L174 236V250H182L230 210Z\"/ <path class=\"bad\" stroke width=\"3\" d=\"M163 226L177 232M163 234L177 240M165 241L175 245M163 230L176 226\"/ <path class=\"ink\" stroke width=\"1.8\" d=\"M202 48V84M196 76L202 86L208 76\"/ <text class=\"s\" x=\"214\" y=\"68\" Extruder pushes</text <path class=\"ink\" stroke width=\"1\" d=\"M106 236H158\"/ <text class=\"s bad t\" x=\"100\" y=\"240\" text anchor=\"end\" Residue</text <text class=\"s bad t\" x=\"170\" y=\"278\" text anchor=\"middle\" nothing comes out</text </svg <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Cold pull: the cooled, tough filament is pulled out and takes the residue with it on its tip\" <text class=\"t\" x=\"16\" y=\"26\" Cold pull</text <path class=\"part\" d=\"M159 40V82L167 112V120H173V112L181 82V40Z\"/ <path class=\"bad\" stroke width=\"3\" d=\"M163 106L177 112M163 114L177 120M165 119L175 121M164 110L176 106\"/ <path class=\"tool\" d=\"M110 130H158V200L166 236V250H158L110 210Z\"/ <path class=\"tool\" d=\"M230 130H182V200L174 236V250H182L230 210Z\"/ <path class=\"ink\" stroke width=\"1.8\" d=\"M202 96V60M196 68L202 58L208 68\"/ <text class=\"s\" x=\"214\" y=\"74\" pull firmly</text <text class=\"s good t\" x=\"100\" y=\"110\" text anchor=\"end\" Tip with</text <text class=\"s good t\" x=\"100\" y=\"126\" text anchor=\"end\" residue</text <text class=\"s good t\" x=\"170\" y=\"278\" text anchor=\"middle\" Nozzle clear again</text </svg </div <figcaption Schematic diagram, section through the nozzle. On the left, a residue blocks the opening and the extruder pushes in vain. "},{"t":"Clogged nozzles on a UV printer: nozzle check, cleaning, prevention","k":"UV printing · Troubleshooting","d":"Lines missing in the nozzle check, white only coming out patchy? How to recognise, clean and avoid clogged nozzles on your UV printer.","u":"/en/uv-printing/troubleshooting/clogged-uv-printer-nozzles/","x":"Clogged nozzles are the most common maintenance topic in UV printing. Unlike normal ink, UV ink does not dry in the air, but it cures under UV light. And once it has cured, it can hardly be dissolved again. Prevention is therefore more important here than with almost any other printer. Reading the nozzle check The nozzle check prints a pattern of fine lines for each colour channel. Each line stands for one nozzle. Pattern Meaning Next step All lines complete and straight everything is fine print Individual lines missing individual nozzles clogged normal cleaning Lines crooked or doubled nozzle deflects, often due to dirt or ink on the nozzle plate cleaning, check the nozzle plate Whole blocks missing heavier clogging or air in the line several cleanings, flush the line One channel completely empty cartridge empty, air, valve or severe clogging check the fill level, then manufacturer support It is best to print the test on a material on which all colours are clearly visible. White only shows on a dark surface or on transparent film in front of a dark background. Using cleaning cycles correctly Almost all machines have several cleaning levels, for example light, medium and strong. With each cleaning, ink is sucked or pushed through the nozzles and the nozzle plate is wiped. 1. Start with a light or normal cleaning 2. Then print another nozzle check 3. Only move to the next level if needed 4. After two to three unsuccessful cleanings, take a break instead of carrying on Strong cleanings use a lot of ink and fill the waste ink tank. eufyMake, for example, recommends doing up to three normal cleanings and using the deep clean only when really necessary. Sometimes a clog also clears if the machine rests for a while and is then cleaned again. Manual cleaning: only following the manufacturer's instructions If the automatic cycles do not help, what remains is manual cleaning of the nozzle plate, wiper and capping station. Caution is called for here: Use only the cleaning fluid approved by the manufacturer. The wrong products can damage the nozzle plate or seals. Never rub the nozzle plate with pressure; work only gently with lint free swabs or foam sticks, as described in the instructions. Do not let any cleaning fluid get into the ink. It can disturb curing. For print heads under warranty, ask support first. A damaged print head is the most expensive spare part on the machine. Better one cleaning too few than a wrong one. White ink: the main cause Most clogs affect the white. White UV ink contains titanium dioxide, a heavy pigment that settles quickly. A thick sediment then forms at the bottom of cartridges, lines and dampers and clogs the nozzles. Shake white ink regularly according to the manufacturer's instructions. For longer breaks, Mimaki recommends shaking white and silver ink at least once a week. Leave machines with circulation switched on for white so that it can work Before the actual print, print a small white area on waste material Varnish is also more viscous than colour ink and more prone to clogging. Stray light: UV light cures ink on the nozzle plate The UV lamp sits right next to the print head. If its light is reflected back from the object or the print table, it can cure the ink on the nozzle plate. This happens above all with: reflective surfaces such as mirror acrylic, chrome or polished metal light or shiny jigs and exposed table surfaces a large distance between head and object Trade media and manufacturers therefore recommend dark, matt jigs, as little exposed table surface as possible and a small print gap. As a guide, Mimaki gives a distance of under 1.5 mm between the lowest and highest point. Fix reflective parts on a dark, flat base beforehand. More on jigs under Positioning precisely /uv druck/workflow/positionieren/ . Sunlight also contains UV. A UV printer does not belong by the window. Downtime and holidays UV printers do not like long breaks. The ink settles, residue collects at the capping station, "},{"t":"Colour management in UV printing: why colours look different","k":"UV printing · Print files & workflow","d":"Vivid on screen, dull or dark on the object? How substrate, white ink, ICC profiles and monitor affect colours in UV printing.","u":"/en/uv-printing/workflow/colour-management/","x":"Almost everyone experiences it with their first UV print: the design looks vivid on screen, but on the object it is darker, flatter or shifted in colour. This is not a defect but physics. The screen emits light itself, while the print can only reflect the light that falls on it. Why the screen lies A monitor mixes colours from light RGB . It can display very bright, saturated colours that cannot be reached with ink. The printer works with CMYK, that is, with colour that absorbs light. The range of displayable colours, the colour space, is smaller in print. On top of that, many screens are set too bright and too cool from the factory. What still looks fine there becomes too dark in print. The substrate has a say too UV ink is translucent, so it lets light through. Whatever lies underneath always shows through. Substrate Effect without white What helps White, light Colours close to the original usually no white needed Wood, cork Colours become warmer and darker, grain shows through White underprint if the colour needs to be right Dark, black Colours almost invisible White underprint essential Transparent acrylic, glass Colours look pale, see through White layer as a cover Metal, brushed Metallic shine shows through, sometimes looks refined, sometimes busy White fully or partly More on individual materials under Materials for UV printing /uv druck/materialien/ . White underprint: how much? White is the foundation for colour on dark or transparent surfaces. Too little white lets the substrate show through. Too much white can make colours look a little paler, lengthens print time and increases layer thickness. Many machines allow several white layers or an adjustable density. How the layers interact is explained in the article Ink layers in UV printing /uv druck/grundlagen/farbschichten/ . ICC profiles: the translators An ICC profile describes how a device reproduces colours. The printer software uses it to convert the colours in your file into ink amounts. Manufacturer profiles are usually built in on desktop machines. They are tuned to typical materials. Material specific profiles exist for professional systems and RIP software. They take into account how the ink looks on a particular substrate. Custom profiles you create with a measuring device spectrophotometer . This is mainly worthwhile if you print a lot on the same material and have to hit colours exactly. Important: work through the chain cleanly once. File in the right colour space, software with a matching profile, no double conversion. How to set up the file is covered under Preparing print data /uv druck/workflow/druckdaten vorbereiten/ . Calibrating the monitor Without a calibrated monitor you judge colours by feel. A calibration device measures the screen and creates a profile that corrects brightness and colour temperature. For print preparation the screen is usually set much darker than you are used to. Even without a measuring device, a lot helps: turn the brightness down, switch off night mode and blue light filters, and judge colours in even light rather than in direct sunlight. Test prints and colour charts The most reliable route to good colours is a test print on the real material. Best of all is a colour chart: many small colour patches with known values. 1. Create a colour chart with the colours you often need, such as company colours or typical skin tones 2. Print it once on every material you use 3. Keep the chart and label it material, white setting, print mode 4. For new jobs, pick the matching colour straight from the chart That way you see at once which value looks like what on wood, slate or acrylic, without guessing anew each time. Skin tones Skin tones are particularly tricky because the eye notices the smallest deviations. A slight green or magenta cast makes a portrait look unnatural at once. On wood, the warm natural tone of the material is added. Lighten photos slightly before printing, as the print almost always looks darker Print enough white"},{"t":"Colour, white and varnish: how UV printers print layer by layer","k":"UV printing · Basics","d":"White under colour, colour-white-colour, varnish on top: which layer order suits what, and how it affects print time and ink consumption.","u":"/en/uv-printing/basics/uv-print-layers/","x":"A UV printer can print layers on top of each other because each layer hardens immediately. That is exactly what makes it so versatile: with white as a base coat, colours glow even on black wood, and with varnish a design gains gloss or texture. Which order you choose determines appearance, print time and ink consumption. The three building blocks Colour CMYK : is translucent, so slightly see through. On a white substrate it looks as planned, on a dark one hardly at all. White: covers the substrate and serves as a base coat for the colour. Varnish: clear, for gloss, protection or tactile effects. Because colour is translucent, almost every layer decision comes down to one question: what is behind the colour, and from which side is it viewed? The most important orders Order When Result colour only white or very light substrate thin, fast, substrate shows through slightly White, then colour dark, coloured or transparent substrate, viewed from the front colours glow as on paper Colour, then white transparent material, viewed from behind glass, acrylic print the design mirrored, white covers the back Colour, white, colour transparent material, viewed from both sides coloured on both sides, for example window pictures, acrylic stands ... plus varnish on top as the last layer in any variant gloss, protection or texture <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 270\" role=\"img\" aria label=\"White, then colour: on a dark substrate, white goes down first, then colour and varnish on top, viewed from the front\" <text class=\"t\" x=\"16\" y=\"26\" White, then colour</text <path class=\"ink\" stroke width=\"1.6\" d=\"M95 62Q115 48 135 62Q115 76 95 62Z\"/ <circle class=\"ink\" stroke width=\"1.6\" cx=\"115\" cy=\"62\" r=\"4\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M115 80V112M109 104L115 114L121 104\"/ <text class=\"s\" x=\"146\" y=\"66\" View from the front</text <rect class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"4 3\" x=\"30\" y=\"120\" width=\"170\" height=\"14\"/ <rect class=\"part\" x=\"30\" y=\"134\" width=\"170\" height=\"18\"/ <rect class=\"plate\" x=\"30\" y=\"152\" width=\"170\" height=\"18\"/ <rect class=\"ink\" stroke width=\"1.5\" x=\"30\" y=\"170\" width=\"170\" height=\"40\" rx=\"2\"/ <path class=\"ink\" stroke width=\"1\" opacity=\"0.5\" d=\"M40 210L70 170M60 210L90 170M80 210L110 170M100 210L130 170M120 210L150 170M140 210L170 170M160 210L190 170M180 210L200 183.3\"/ <text class=\"s\" x=\"212\" y=\"131\" Varnish</text <text class=\"s\" x=\"212\" y=\"147\" Colour</text <text class=\"s\" x=\"212\" y=\"165\" White</text <text class=\"s\" x=\"212\" y=\"194\" Substrate, dark</text <text class=\"s\" x=\"170\" y=\"252\" text anchor=\"middle\" White covers, colours glow</text </svg <svg viewBox=\"0 0 340 270\" role=\"img\" aria label=\"Reverse printing: colour is printed onto the glass first, then white, and it is viewed through the glass\" <text class=\"t\" x=\"16\" y=\"26\" Reverse: colour, then white</text <text class=\"s\" x=\"115\" y=\"58\" text anchor=\"middle\" Print side</text <rect class=\"plate\" x=\"30\" y=\"70\" width=\"170\" height=\"18\"/ <rect class=\"part\" x=\"30\" y=\"88\" width=\"170\" height=\"18\"/ <rect class=\"ink\" stroke width=\"1.5\" x=\"30\" y=\"106\" width=\"170\" height=\"40\" rx=\"2\"/ <path class=\"ink\" stroke width=\"1\" opacity=\"0.5\" d=\"M50 140L70 112M64 140L84 112\"/ <text class=\"s\" x=\"212\" y=\"83\" White</text <text class=\"s\" x=\"212\" y=\"101\" Colour, mirrored</text <text class=\"s\" x=\"212\" y=\"130\" Glass</text <path class=\"ink\" stroke width=\"1.5\" d=\"M115 186V154M109 162L115 152L121 162\"/ <path class=\"ink\" stroke width=\"1.6\" d=\"M95 202Q115 188 135 202Q115 216 95 202Z\"/ <circle class=\"ink\" stroke width=\"1.6\" cx=\"115\" cy=\"202\" r=\"4\"/ <text class=\"s\" x=\"146\" y=\"206\" View through the glass</text <text class=\"s\" x=\"170\" y=\"252\" text anchor=\"middle\" Print sits protected behind the pane</text </svg </div <figcaption Schematic illustration in cross section. On the left, white lies under the colour as a base coat, with varnish on top, viewed from the front. On the right, reverse printing: colour first, then white, viewed through the glass.</figcaption <"},{"t":"Colouring models in the slicer for multi-colour printing: faster than the brush","k":"3D printing · Slicers","d":"Fill tool, height range, gap filling, ready-made multi-colour models and coloured OBJ files: how to colour models for multi-colour printing faster.","u":"/en/3d-printing/slicers/colouring-multicolour-models/","x":"If you have a multi colour printer, you have to specify in the slicer which surface gets which colour. Many people start with the brush and paint every surface with the mouse. For larger figures this quickly takes hours. There is a much faster way. How the various multi colour systems work is explained under Multi colour printing /3d druck/grundlagen/mehrfarbdruck/ . 1. Fill tool instead of brush Most slicers offer more than just the brush in their painting tool. The fill tool saves the most time: one click colours a connected surface. In Bambu Studio, the fill stops at a different colour. With the edge detection option it also stops at edges sharper than an adjustable angle. This lets you colour a jacket, a base or an eye area with one click instead of painting it in. Experiment with the angle: if it is too large, the colour spills over soft transitions. If it is too small, the fill gets stuck on every curve. 2. The other tools in Bambu Studio According to Bambu Lab, the colour painting tool has six tools: Tool Used for Circle brush for lines and curves on the surface Sphere colours everything inside a sphere, including hidden surfaces Triangle colours individual triangles of the model, good for details Height range colours everything at a certain height, including separate areas Fill colours connected surfaces with one click Gap fill closes small forgotten spots with the colour of the surroundings There are also a few helpers that save a lot of time: Keys 1 to 9 select the filament directly. You do not have to click in the colour bar every time. Erase removes colour again without you having to search for the right colour anew. Section view hides part of the model so you can reach hidden spots. The height range tool is ideal for anything that is separated horizontally: bases, rims, stripes or lettering on a sign. It has a further advantage: if a colour only appears in a few layers, the printer changes filament less often. That saves time and purge material /3d druck/grundlagen/mehrfarbdruck/ . Creality Print has the same six tools; for filling, the angle option is called smart fill angle there. PrusaSlicer offers a brush, smart fill with an adjustable angle and a bucket fill when painting for multiple materials. In OrcaSlicer and other slicers based on it you will find similar tools, though the names may differ. 3. Using ready coloured models On platforms such as MakerWorld and Printables there are many models that are already set up as multi colour files, usually in 3MF format. In the slicer you then only assign the colours to your filaments. Search there for \"multicolor\" or \"multi color\". More on platforms and file formats can be found under File formats /3d druck/3d modelle/dateiformate/ . 4. Models made from separate parts Many designers supply figures in several parts, such as body, head and eyes. In the slicer you merge the parts into one object and assign a filament to each part. You then do not have to paint at all. This is especially worthwhile for figures you print more often. 5. Importing coloured OBJ files According to Bambu Lab, Bambu Studio can read geometry and colours from OBJ files. On import, a window opens that automatically assigns the model's colours to your filaments. You can change the assignment there by hand. This is handy when a model has already been created in colour, for example in a 3D program or with an AI generator that outputs coloured models. How well this works depends heavily on the model: with many fine colour gradients, there are often spots left that you have to rework. What remains manual work? With detailed figures with many small colour areas, you cannot avoid some fine work. The order that saves the most time: 1. Colour large surfaces with the fill tool. 2. Colour horizontal areas with the height range. 3. Rework details with the triangle or a small brush. 4. Finally, close forgotten spots with \"Gap fill\". Also pay attention to how many colours you really need. Every additional colou"},{"t":"Creating your own 3D models: programs for getting started","k":"3D printing · 3D models","d":"Tinkercad, Fusion, Onshape, FreeCAD, Blender and Shapr3D at a glance: cost, licence, difficulty and tips for designing for 3D printing.","u":"/en/3d-printing/3d-models/learn-3d-modelling/","x":"At some point you will no longer find a ready made model that fits exactly: the bracket is two millimetres too narrow, the spare part does not exist. Then it is worth designing it yourself. For simple parts, an afternoon of learning is enough, and most programs are free for private use. Two kinds of programs CAD programs work with exact dimensions. You draw a sketch, specify lengths and extrude a solid from it. Ideal for brackets, enclosures, spare parts and anything that has to fit somewhere. Most are parametric : every step is saved, and if you change a dimension later, the model adapts. Mesh and sculpting programs shape surfaces freely like clay. Good for figures, animals and organic shapes, unsuitable for precise fits. What files the two approaches produce is explained in the article on file formats /3d druck/3d modelle/dateiformate/ . The programs at a glance Tinkercad Free from Autodesk, runs in the browser. You assemble basic shapes such as cubes, cylinders and spheres and subtract holes from them. You will understand how it works within an hour. For simple brackets, signs and name tags, that is perfectly sufficient. You quickly hit limits with curves, chamfers and more complex parts. Fusion Autodesk's formerly Fusion 360 is a full parametric CAD program for Windows and macOS. The licence for private use is free but comes with conditions: non commercial projects only, less than US$1,000 revenue a year, and at most 10 simultaneously editable documents. The licence runs for three years and then has to be renewed. Export as STL, 3MF and STEP is possible. If you earn money with your designs, you need a paid subscription. Onshape Parametric CAD in the browser, also on tablet and smartphone. The Free plan costs nothing but has two catches: all documents are public and visible to others, and commercial use is not allowed. The Standard plan costs about US$1,500 a year. For hobby projects that you would share anyway, the Free plan is a good option, especially since nothing needs to be installed. FreeCAD Free and open source for Windows, macOS and Linux, with no restrictions on use, including commercial. With version 1.0 2024 and 1.1 March 2026 , the program has become much more stable and beginner friendly, for example through a built in assembly function. Even so, it takes more getting used to than Fusion or Onshape. If you want to be independent of subscription models in the long run, this is where to invest your learning time. Blender Free and open source, actually intended for animation and graphics. Strong for figures, sculptures and organic shapes. For dimensionally accurate technical parts, Blender is awkward. Pay attention to the units when exporting, otherwise the model arrives in the slicer at the wrong size. Shapr3D A CAD program for iPad, Mac and Windows that works well with a pen or touch. The free Basic plan allows only two projects and exports STL and 3MF in basic resolution. The Pro plan costs about US$300 a year plus VAT. The programs compared Program Cost private Platform Difficulty Good for Tinkercad free Browser very easy first steps, simple parts Fusion free with restrictions, non commercial only Windows, macOS medium technical parts, assemblies Onshape Free plan is free, documents public, non commercial Browser, tablet medium technical parts, no installation FreeCAD free, also commercial Windows, macOS, Linux medium to hard technical parts, open source Blender free Windows, macOS, Linux hard figures, organic shapes Shapr3D Basic free 2 projects , Pro about US$300 a year iPad, Mac, Windows easy to medium CAD with pen and touch Licence terms and prices change. Before you start, check the provider's current terms, especially if you want to sell. Without your own CAD: customisers and AI Customisable models: On Thingiverse and MakerWorld there are parametric models where you enter dimensions, text or the number of compartments in a form. The platform generates the matching file from it. For boxes, signs, cable h"},{"t":"Cricut Design Space and Access: costs and alternatives","k":"Makerspace · Cutting plotters","d":"What is free in Cricut Design Space, what Cricut Access costs, what works offline and what software Silhouette and Brother include. Prices as of October 2026.","u":"/en/makerspace/cutting-plotters/cricut-design-space-and-access/","x":"Cricut plotters are controlled via the Design Space app. The app is free, but a lot of content and some functions are available only with the Cricut Access subscription. This article covers what you get without a subscription, what the subscription costs and how Silhouette and Brother handle it. Design Space: what is free Design Space is available for desktop, iOS and Android. You need a Cricut account and, according to Cricut, a fast internet connection. According to Cricut, no subscription is needed for the machine itself. According to Cricut, the following are included free of charge: more than 3,000 images and more than 100 fonts Projects with instructions Cricut states more than 1,000 on the product pages and more than 250 on the subscription page uploading your own files: PNG, JPG, GIF and BMP as a raster image, SVG and DXF as a vector file, which is split into layers on upload individual images and projects as one off purchases up to 5 collections for sorting If you design your own artwork or buy ready made SVG files, you can manage without a subscription. What Cricut Access costs Free Access Standard Access Premium Price €0 €9.99 per month or €99.99 per year €14.99 per month or €124.99 per year Images more than 3,000 more than 1,500,000 more than 1,500,000 Fonts more than 100 over 1,000 over 1,000 Projects with instructions more than 250 over 100,000 over 100,000 AI credits per month none 20 200 Collections up to 5 unlimited unlimited Discount in the Cricut shop no 10 %, up to €50 per item 10 %, up to €100 per item Discount on Cricut materials no 10 % 20 % Voucher no €10 every 3 months €10 every 3 months Prices according to the Cricut shop Germany, as of 16.10.2026. Cricut states the exact terms of the discounts in the footnotes and the Access terms. These tools are available only with a subscription: Remove background for uploaded images, Convert to layers , and Warp for text and shapes. What you should know: Working out the annual subscription: 12 x €9.99 is €119.88, while the Standard annual subscription costs €99.99. Licensed content from third parties, for example Disney designs, is not included. Subscribers get 10 % off these. Cancellation: at any time. The benefits remain until the end of the paid period, after which premium content and subscription tools can no longer be used. The free content stays. Sharing is not allowed. The subscription is for one person. Trial subscription: A trial subscription for new customers is included with the machines. According to Cricut, Cricut Access renews automatically until you cancel. Can I sell what I make with Cricut? Yes, within limits. According to Cricut, the Cricut Angel policy allows you to sell up to 10,000 finished projects a year, such as cards or T shirts. Selling individual untransferred cuts such as letters in bulk is not allowed, nor are items with licensed content. What works offline and on a phone Cricut lists a fast internet connection as a requirement on all product pages. In its terms of use, Cricut describes its machines as connected devices that need compatible software and a fast internet connection, and points out that these requirements may change. So plan on Design Space being online software. There are restrictions on a phone or tablet: Knife Blade: According to Cricut, projects with the Knife Blade for the Maker do not run via iOS or Android, only on a computer. Print then Cut: On Android you can design and save such projects, according to Cricut, but printing and cutting work only on a Windows or Mac computer or on iOS. Design Space not working: first steps 1. Check the internet. Cricut lists a fast internet connection as a requirement. 2. Check the system requirements. The current list is at cricut.com/systemrequirements https://cricut.com/systemrequirements , and according to Cricut it changes over time. 3. Bluetooth: Place the machine nearby and switch off the computer's sleep mode for long cuts. The Joy Xtra has Bluetooth only, while Maker 5 an"},{"t":"Cutting plotter buying guide: Cricut, Silhouette or Brother?","k":"Makerspace · Cutting plotters","d":"Which cutting plotter suits you? Cutting width, mat, materials, tools, scanner, software and subscription compared, with a table of the wiki machines and a guide to choosing a Cricut.","u":"/en/makerspace/cutting-plotters/cutting-plotter-buying-guide/","x":"The wiki lists five hobby plotters from three manufacturers: Cricut Maker 5, Explore 5 and Joy Xtra, the Silhouette Cameo 5α and the Brother ScanNCut SDX2250D. All of them cut flex film, vinyl and paper. The differences lie in the width, in how they handle mats, in thick materials and above all in the software. How a plotter works in general is explained in Cutting plotters explained /makerspace/plotter/ . The criteria Cutting width and length The width determines how large a design can be in one piece. The Joy Xtra cuts 21.6 cm wide, the other machines about 30 cm. Measure your typical designs before buying: anything wider than the cutting width has to be split and applied in several pieces. The length depends on the mat. With the large mat, the Maker 5 and Explore 5 cut a maximum of 29.2 x 60.3 cm and 29.2 x 59.6 cm respectively. Longer cuts are only possible without a mat. With or without a mat Cricut: without a mat only with its own Smart Materials Smart Vinyl, Smart Iron On, Smart Paper . With these, the Maker 5 and Explore 5 manage up to 3.6 m, the Joy Xtra up to 1.2 m. Ordinary roll material from other manufacturers goes on the mat. Silhouette Cameo 5α: any material with a carrier sheet runs without a mat, up to 4.87 m long. For thin materials up to 0.5 mm, an optional electrostatic mat without adhesive is available. Brother ScanNCut SDX2250D: cuts with a mat. With the optional roll feeder, Brother USA states up to about 1.78 m for material up to 0.5 mm. If you process a lot of film from the roll and do not want to be tied to one manufacturer's materials, this is an important point. Materials, cutting force and tools None of the three manufacturers states a cutting force in grams for these machines. Only the material thickness figures and the tools are comparable: Cricut Maker 5: 13 compatible tools, including rotary blade for fabric, Knife Blade, engraving and debossing. According to Cricut, it cuts material up to 3 mm. Cricut Explore 5: six tools. The deep cut tool, available separately, cuts up to 1.5 mm, for example foam, rubber and magnetic sheet. Cricut Joy Xtra: three tools blade, pen, foil transfer , intended for paper, card, vinyl and flex film. Silhouette Cameo 5α: up to 3 mm, two tool holders, the AutoBlade sets the blade depth automatically. Brother ScanNCut SDX2250D: auto blade up to 3 mm, rotary cutter kit for fabric included. Scanner on the ScanNCut The ScanNCut is the only machine in this comparison with a built in scanner at 600 dpi. You place a drawing, a stamp impression or a printout on the mat, the machine recognises the outline and cuts it out. It is operated through a 5 inch touchscreen, according to Brother even entirely without a computer. According to Brother, the DX series reads SVG files without prior conversion. Software, subscription and offline use This is where the systems differ most: Cricut Design Space is free but needs a Cricut account and, according to Cricut, a fast internet connection. Cricut Access is an optional subscription from €9.99 a month. Silhouette Studio is installed on your computer. The Basic Edition is free, upgrades are one off purchases without a subscription. Brother works on the machine itself. For designing on a computer there is CanvasWorkspace for Windows and Mac, plus the Artspira app with the optional Artspira+ subscription. The details on prices and features are in Cricut software: Design Space, Access and alternatives /makerspace/plotter/cricut design space access/ . The machines compared Cricut Joy Xtra Cricut Explore 5 Cricut Maker 5 Silhouette Cameo 5α Brother ScanNCut SDX2250D Cutting width 21.6 cm 30.5 cm 30.5 cm 30.5 cm with mat 30.5 cm Max. with mat 20.8 x 29.7 cm 29.2 x 59.6 cm 29.2 x 60.3 cm 30.5 x 61 cm 30.5 x 61 cm optional mat Without mat 1.2 m, Smart Materials only 3.6 m, Smart Materials only 3.6 m, Smart Materials only 4.87 m, material with carrier sheet about 1.78 m with optional roll feeder Material thickness no manufacturer information up to"},{"t":"Cutting plotter not cutting properly: blade, mat, pressure","k":"Makerspace · Cutting plotters","d":"Why your plotter does not cut through, frays or shifts the material: blade, mat, pressure, test cut, Print then Cut and connection problems (Cricut, Silhouette, Brother).","u":"/en/makerspace/cutting-plotters/cutting-plotter-not-cutting/","x":"When a plotter does not cut cleanly, the cause is almost always one of four things: blade, mat, material setting or software . Work through them in this order and make a small test cut after each change instead of cutting the whole design straight away. Quick overview What you see Common cause What to do Cut does not go all the way through wrong material selected, too little pressure, dull blade Check the material, increase pressure, clean or replace the blade Edges frayed or torn dull or damaged blade, blade depth too high Replace the blade, reduce depth and pressure, cut more slowly Cut goes through the backing too much pressure or blade depth Reduce pressure, choose a different material in the software Material slips or ripples mat no longer sticky, material not pressed down Clean or replace the mat, press the material down flat Heat transfer vinyl cannot be weeded vinyl inserted the wrong way round Shiny carrier side down, mirror the design Print then Cut cuts off centre not calibrated, light interferes with the sensor Calibrate the machine, change the light source Machine does not respond connection, software or account Re establish the connection, check the software Blade: wear, cleaning and replacement A blade gets duller with every cut. The manufacturers do not give a fixed number of cuts, but signs to look for: Cricut: Replace blades when the cut quality drops or after 6 to 8 months of regular use. According to Cricut, exactly how often depends on how you use it. Brother: Replace the blade when cuts become rough or the edge is dull or chipped. If the blade does not cut evenly even with higher pressure, Brother says it is probably chipped. Silhouette: It is time for a new blade when performance drops. According to Silhouette, the Premium Blade is meant to last three times as long as the standard blade. Before you replace it, it is worth taking a look at the blade. Fibres and adhesive build up, especially with cardboard and adhesive vinyl. Silhouette advises unscrewing the cap and removing the residue with a lint free cloth or cotton bud. Never cut without the cap screwed on. A replacement Premium Fine Point Blade for Maker and Explore costs €13.99 at Cricut RRP, as of 16.10.2026 . According to Cricut, it fits the gold Premium Blade housing and the silver Fine Point housing. According to the manufacturer, new Cricut machines come with either a metal housing or the new cutting tool, so check what is fitted in your machine before buying. Mat: stickiness and cleaning According to Cricut, a mat that no longer sticks is often the real reason for slipping vinyl, torn paper or shifted fabric. How you clean it depends on the manufacturer, and the advice contradicts itself: Cricut green, blue, purple : Wipe light dirt away with alcohol free wet wipes without lotion, oil or fragrance. For heavy dirt, clean with a few drops of grease cutting washing up liquid and a soft sponge, rinse thoroughly and leave to air dry, not with a towel. Cricut FabricGrip pink : No water and no soap. Remove lint with tweezers and lift off residue with transfer tape. Silhouette: Rub with your fingers under lukewarm water, without soap or cleaning agents , and leave to air dry, with no towel and no heat. Follow the instructions for your mat. Cricut advises against third party adhesive sprays or glue sticks, as they can void the warranty and damage the machine. To make the mat last longer: put the protective film back on after each use, store it flat and choose the right grip for the material. With Cricut, LightGrip blue is intended for light paper, StandardGrip green for cardstock, vinyl and heat transfer vinyl, and StrongGrip purple for heavy cardstock, magnetic sheet or faux leather. Replace the mat if cleaning does not bring back the stickiness, if deep cut grooves make the material slip, or, according to Silhouette, if the corners no longer lie flat and interfere with feeding. Pressure and material setting Most cutting problems are solved by choosin"},{"t":"Cutting Plotters Explained: Vinyl, Mats, Software and Subscriptions","k":"Makerspace · Cutting plotters","d":"How a cutting plotter cuts, which materials it handles, when you need a mat, how weeding and mirroring work and what Cricut Access and Silhouette Studio cost.","u":"/en/makerspace/cutting-plotters/","x":"A cutting plotter is a printer with a blade instead of ink. It moves a small blade along the lines of your design and cuts film, paper, card or fabric. With heat transfer vinyl it makes designs for shirts, with vinyl it makes stickers and lettering, and with card it makes cards and packaging. What a plotter cuts The blade only cuts as deep as necessary. With film it goes through the colour layer but not through the carrier. The design therefore stays on the carrier sheet and can be transferred as a whole. How deep and how firmly it cuts is set through material presets in the software. Typical materials: Heat transfer vinyl for ironing onto textiles , also flock, glitter and metallic film Vinyl for stickers, windows and lettering Paper and card Fabric and felt, with a rotary blade depending on the machine Thin wood, leather and foam on the more powerful machines How much material a plotter can handle depends on the machine. According to the manufacturer, the Cricut Maker 5 cuts up to 3 mm and has 13 compatible tools, including rotary blade and Knife Blade. The Explore 5 has six tools and is meant for paper, vinyl and heat transfer vinyl. Manufacturers do not state a cutting force in their data sheets. With or without a mat Most materials go on a cutting mat , a carrier board with a slightly sticky surface. You can only go without a mat with material that has a firm carrier of its own: Cricut: matless only with Cricut Smart Materials Smart Vinyl, Smart Iron On, Smart Paper . With these, Maker 5 and Explore 5 cut up to 3.6 m long, and with a mat a maximum of about 30 x 60 cm. Silhouette Cameo 5α: material with a carrier sheet runs without a mat up to 4.87 m. Instead of an adhesive mat there is an optional electrostatic mat. Weeding and mirroring After cutting, you remove the excess material with a weeding hook. This is called weeding . Only your design is left on the carrier. With heat transfer vinyl you have to mirror the design before cutting. The film lies on the mat with the shiny carrier side down when cutting, and flips over when pressed on. Siser states this explicitly for EasyWeed and StripFlock Pro. Vinyl for stickers is not mirrored. Software and subscriptions Cricut Design Space Silhouette Studio Brother CanvasWorkspace Basic version free, account and internet needed free Basic Edition, usable on the desktop CanvasWorkspace PC for Windows and Mac, web version discontinued Paid Cricut Access as a subscription, according to the Cricut shop from €9.99 a month or €99.99 a year, with images, fonts and discounts one off purchase upgrades: Designer, Designer Plus, Business; SVG import only from Designer no subscription stated for CanvasWorkspace; Artspira app with optional Artspira+ subscription According to Cricut, licensed designs such as Disney are not included in Cricut Access. Silhouette additionally has a Design Store with its own subscription. The manufacturer gives the prices of the Silhouette upgrades only in US dollars. What Design Space can do for free, what Access Standard and Premium cost and which alternatives exist is covered in Cricut software: Design Space, Access and alternatives /makerspace/plotter/cricut design space access/ . Which plotter? Small and cheap: Cricut Joy Xtra with a 21.6 cm cutting width for cards, stickers and small heat transfer vinyl designs Standard for film and paper: Cricut Explore 5 or Silhouette Cameo 5α with a 30 cm width Also fabric, leather, thin wood: Cricut Maker 5 Sewing and quilting: Brother ScanNCut with built in scanner, works without a computer Criteria, a comparison table and the question of which Cricut suits you are in the plotter buying guide /makerspace/plotter/plotter kaufberatung/ . All plotters with data and prices are in the device overview /makerspace/geraete/ plotter . To apply heat transfer vinyl you need a heat press /makerspace/heisspressen/ ; how this works with a press or an iron is explained in Plotting and ironing on heat transfer vinyl /makerspace/plotter"},{"t":"Disposing of and recycling filament: is PLA compostable?","k":"3D printing · Filaments","d":"What to do with failed prints, supports and offcuts: general waste or recyclables bin, why PLA is not for organic waste or compost, recycling services and less waste.","u":"/en/3d-printing/filaments/disposing-recycling-filament/","x":"The short answer for Germany: failed prints, supports and filament offcuts are not packaging and therefore do not belong in the yellow bin. In most municipalities they end up in general waste . If you have a recyclables bin Wertstofftonne , items made of plastic are often allowed in there. PLA belongs neither in the organic waste bin nor on the garden compost heap. If you collect single material PLA or PETG offcuts, you can also send them to a recycling service. Exactly what may go in which bin is set by your municipality in its waste bylaws. If in doubt, take a look at the waste A to Z of your local waste collector. Yellow bin, recyclables bin or general waste? Waste Where to? Why Failed prints, supports, filament offcuts general waste, recyclables bin where available not packaging Foil bag from the spool, plastic packaging yellow bin or yellow bag packaging Cardboard packaging waste paper packaging made of paper Plastic spools ask your local waste collector, recycling service see below Desiccant bags follow the manufacturer's instructions varies depending on the desiccant Yellow bin for packaging only. The German Environment Agency UBA and the consumer advice centre Verbraucherzentrale describe the yellow bin and yellow bag as a collection for packaging made of plastic, metal and composites. A printed part is not packaging, even if it is made of the same plastic. Recyclables bin for items made of plastic. Some cities also collect so called non packaging items of the same material in a recyclables bin. The Verbraucherzentrale names Dortmund, Kamen, Unna, Düsseldorf and Cologne as examples, and Hamburg collects packaging and other items made of plastic and metal together. There, the recyclables bin is the right route for failed prints. Otherwise general waste. Without a recyclables bin, that leaves general waste. The UBA points out that municipalities define in their waste bylaws what counts as general waste. Never burn it. The UBA expressly warns against burning plastics in a fireplace or stove: this is a criminal offence, and incomplete combustion produces toxic gases. Resin is a special case: liquid resin and used alcohol do not belong in household waste. How to deal with them is covered in Safety in resin printing /3d druck/resin/sicherheit resin/ richtig entsorgen . Is PLA compostable? Only under industrial conditions, and not reliably even there. Garden compost: no. Prusa writes that PLA is only broken down in specialised composting plants. In garden compost it does not decompose, and you end up burdening the soil with microplastics instead. Organic waste bin: no. The UBA makes clear that products made of biodegradable or bio based plastics do not belong in the organic waste collection. According to the UBA, such plastics are broken down poorly or not at all in composting plants in larger quantities, are sorted out in sorting plants and incinerated. According to the UBA, there is so far no recycling route for them. What the EN 13432 standard means. Many bioplastics are advertised with this standard. According to a paper by the Scientific Services of the German Bundestag, it requires, among other things, that the material breaks down by at least 90 percent within six months in a laboratory test at around 60 °C according to NABU https://www.nabu.de/umwelt und ressourcen/ressourcenschonung/kunststoffe und bioplastik/30018.html and that after three months of composting no more than 10 percent remains as pieces larger than 2 mm. The standard is intended for packaging and models an industrial plant, not garden compost. According to the paper, not all composting plants accept even organic waste bags certified to EN 13432. For 3D prints there is more: filaments contain dyes and other additives, and printed parts are usually much thicker than a film. A filament with \"biodegradable\" on the label is therefore no licence to use the organic waste bin. More on this in 7 myths about 3D printing /3d druck/wissen/mythen/ mythos 3 pla kan"},{"t":"Drying filament: temperatures, duration and methods","k":"3D printing · Filaments","d":"Why damp filament prints badly, how to recognise it, at what temperature to dry which material and how to store spools properly.","u":"/en/3d-printing/filaments/drying-filament/","x":"Almost all filaments absorb moisture from the air. The technical term for this is hygroscopic. A spool that lies open in the room for a few weeks can absorb so much water that it prints noticeably worse. The good news: drying almost always reverses this. How do you recognise damp filament? Crackling or popping while printing, because water evaporates in the nozzle More strings between the parts than usual Rough, matte or blistered surface Brittle parts and poor adhesion between the layers With very damp filament: steam or small wisps at the nozzle The crackling in particular is an unmistakable sign. If you hear it, drying is almost always worthwhile. Which materials are sensitive? Material Sensitivity Guide value for drying Duration PLA low to medium 45 to 55 °C 4 to 6 hours PETG medium 60 to 65 °C 4 to 6 hours TPU high 50 to 55 °C 6 to 8 hours ABS, ASA medium 70 to 80 °C 4 to 6 hours PA nylon very high 70 to 80 °C 8 to 12 hours PC high 75 to 80 °C 6 to 8 hours PVA extremely high 45 to 55 °C 6 to 10 hours The values are guide values. The manufacturer's information on the spool or in the datasheet always takes priority. Many manufacturers now print drying temperature and duration directly on the label. It is important to stay below the softening temperature of the material. With PLA this is already reached at around 55 to 60 °C. If it is too hot, the windings on the spool stick together and the spool is unusable. The methods compared Filament dryer Small boxes that hold one or more spools. They heat to an adjustable temperature and often have an opening through which the filament runs directly to the printer. That way you can dry and print at the same time. Advantage: exact temperature, simple. Disadvantage: cheap models often only reach 50 to 60 °C, which is not enough for nylon or PC. You will find current models with maximum temperature and price in the filament dryer comparison /3d druck/zubehoer/filamenttrockner vergleich/ . Multi colour system with drying Some multi colour systems can actively dry filament during storage, such as newer AMS versions from Bambu Lab or the ACE systems from Anycubic. Whether they can, and up to what temperature, is stated in the datasheet of the respective system. Food dehydrator A food dehydrator for fruit often works well if the spool fits inside. Sometimes you have to remove trays for this. Check the temperature with a thermometer, as the scale is often inaccurate. Oven Works in an emergency, but is risky. Many ovens fluctuate strongly at low temperatures and clearly exceed the set value. Plastic spools can warp. If at all, only with an oven thermometer and fan assistance, and never unattended. Storing properly Drying only helps if the filament stays dry afterwards. 1. Airtight box with a lid seal, for example a storage box from the DIY store or a vacuum bag 2. Desiccant in the box, for example silica gel. Variants with a colour change show when they are saturated. Saturated silica gel can be dried again in the oven. 3. Hygrometer in the box, a small digital device for a few euros. As a rule of thumb: under 20 % relative humidity is good, as low as possible for nylon and PVA. 4. Partly used spools back in the box after printing, do not leave them hanging on the printer Which box, whether vacuum bag or dry box, and how to dry desiccant again is covered in detail under Storing filament properly /3d druck/filamente/filament lagern/ . Do I have to dry every new spool? Not necessarily. New spools are usually vacuum packed and dry. With PLA you can generally get started straight away. With nylon, PC, PVA and often TPU as well, drying before the first print is still worthwhile, because even a short time in the air is enough. You will find more on the individual materials in the overview Which filament for what? /3d druck/filamente/ and in the glossary /glossar/ ."},{"t":"DTF printing explained: film, powder, curing and pressing","k":"Makerspace · DTF printing","d":"How Direct to Film works, which fabrics DTF sticks to, how to cure the powder and press, how long designs last and why you need extraction.","u":"/en/makerspace/dtf/","x":"DTF stands for Direct to Film : a printer prints the design onto a film, a hot melt powder goes on top, and in the heat press the whole thing is transferred onto the fabric. The big advantage: DTF holds on cotton, polyester and blended fabrics, on light and dark fabrics, without pretreatment. In return, getting started is more expensive and more involved than with flex film or sublimation. How it works 1. Printing: The design is printed mirrored onto PET film, first the colours CMYK , then a white layer on top as an opaque base. 2. Powder: Fine TPU hot melt powder goes onto the still wet ink. It only sticks where there is ink. Excess powder is shaken off. Some machines do this in an automatic shaker. 3. Curing: Heat melts the powder. For the oven, xTool gives 160 to 180 °C for 2 to 3 minutes, and with a heat press 180 °C for 60 to 120 seconds, with the platen hovering 1 to 2 cm above the film and not pressing. It is done when the surface has a matt, slightly orange white texture. xTool advises against clamshell presses for curing. 4. Pressing: Lay the transfer on the textile and press, then peel off the carrier film. Fully cured transfers can be stored and pressed later. Many people therefore order ready made DTF transfers from service providers and only need a heat press themselves. Guide values for pressing Providers' figures vary widely, from about 110 to 177 °C and 10 to 20 seconds: Provider Temperature Time Peeling Ricoma, cotton and blended fabrics 160 to 177 °C 10 to 15 s, 10 s pre press beforehand cold Ricoma, polyester 138 to 149 °C 10 to 15 s, 5 s pre press beforehand cold Sticker Mule about 149 °C 20 s, firm pressure lukewarm Wunderlabel, polyester and softshell 120 to 125 °C 10 to 12 s with baking paper cold Always follow the instructions for your transfer or film. More on the press under Using a heat press properly /makerspace/heisspressen/ . Durability and care DTF sits as a thin layer on the fabric, unlike sublimation, which goes into the fibre. With good pressing it is durable, with poor pressing the layer can crack or lift at the edges. Wunderlabel recommends: wash no sooner than after 24 hours, up to 60 °C, spin at 600 to 900 rpm, tumble dry only inside out, iron only from the inside. Extraction and dust Curing produces fumes, and the fine powder can be inhaled. We are not aware of any reliable studies on DTF emissions as of 10/2026 . The trade magazine Graphics Pro quotes Roland DGA with the recommendation: good ventilation, gloves, masks and the materials' safety data sheets close at hand. Wikipedia, citing occupational safety authorities, mentions extraction directly at the printer and curing station. So do not set up a DTF system in living spaces, and plan for extraction. What you need a DTF printer with CMYK and white, as a sheet fed or roll fed machine PET film, DTF ink and hot melt powder an oven or shaker for curing, on many machines only as part of a bundle a heat press ventilation or extraction time for the daily care of the white ink, which according to Sign Warehouse is necessary A US retailer calculates about 7,205 USD for getting started with DTF, compared with about 1,100 USD for flex film. You can find current machines with euro prices in the device overview /makerspace/geraete/ dtf . Plot, sublimation or DTF? /makerspace/grundlagen/ helps you decide whether DTF is the right technique for your project. Sources Wikipedia: Direct to film printing https://en.wikipedia.org/wiki/Direct to film printing Epson: DTF Pressemitteilung https://www.epson.co.nz/newsroom/article.asp?ID=2729 xTool: DTF Pulver aushärten https://www.xtool.com/blogs/how to/how to cure dtf powder Ricoma: Anleitung DTF Transfers https://support.ricoma.com/hc/en us/articles/26640480691859 APPLICATION INSTRUCTIONS FOR DTF TRANSFERS Sticker Mule: DTF Transfers aufbringen https://www.stickermule.com/support/how to apply dtf transfers Wunderlabel: DTF Transfers pressen https://wunderlabel.com/blog/p/how to press apply dtf transfers/ S"},{"t":"DTF, DTG, Screen Printing, Sublimation and Heat Transfer Vinyl Compared","k":"Makerspace · Basics","d":"Five ways to print on textiles: how they work, which fabrics they suit, feel, washability, cost per piece and the quantity at which each pays off.","u":"/en/makerspace/basics/textile-printing-methods-compared/","x":"There are more ways to get a printed T shirt than the three techniques that are common in a makerspace. Besides heat transfer vinyl, sublimation and DTF , print shops mainly work with DTG Direct to Garment, printing directly onto the textile and screen printing . This article puts all five side by side. If you only want to know which of the three makerspace techniques suits your fabric, Plot, sublimation or DTF? /makerspace/grundlagen/ is enough. Hard goods such as mugs, wood or acrylic are covered in UV printing, DTF or sublimation? /uv druck/grundlagen/uv druck dtf sublimation/ . How the five methods work Heat transfer vinyl HTV : a cutting plotter /makerspace/plotter/ cuts the design from a coloured film, you remove the excess weeding and press the film on. Each colour is a separate layer of film. Sublimation: an inkjet printer prints with sublimation ink onto transfer paper. In the heat press the dye turns into a gas and bonds with polyester or a polymer coating. Details under Sublimation explained /makerspace/sublimation/ . DTF Direct to Film : the printer prints colour and a white underbase onto PET film, hot melt powder is applied and cured. The finished transfer is then pressed on. Details under DTF printing explained /makerspace/dtf/ . DTG Direct to Garment : an inkjet printer prints water based textile ink directly onto the garment, which is fixed on a platen for this. The textile is usually sprayed with a pretreatment and pressed beforehand. According to Wikipedia, this lays the fibres flat and improves the bonding of the ink, which is especially important for white ink on dark fabrics. The ink is then fixed with heat. Screen printing: the ink is pushed through a fine screen in which only the areas of the design are open. Each colour needs its own screen. According to the retailer McLogan, the widely used plastisol ink has to reach 320 °F for at least one minute, which is about 160 °C. Lawson Screen & Digital stresses that the whole ink layer has to reach this temperature, not just the surface, and refers to the data sheet of the ink in question. According to Printify, prints that are not cured enough can crack or peel. Comparison at a glance HTV Sublimation DTF DTG Screen printing Cotton yes no yes yes, the method's strength yes, best according to Printify Polyester yes yes, at least about 75 % according to Cricut yes limited, according to Printify best on cotton and blends with a high cotton content yes, according to Printify often with special inks against bleeding Dark fabrics yes no yes, thanks to the white underbase yes, with pretreatment and a white underbase yes, plastisol covers strongly according to Printify, water based ink needs a white underbase Photos and gradients no yes yes yes limited, according to Printify best for one to three colours Feel noticeable film layer not noticeable, dye is in the fibre thin, smooth layer on the fabric soft, ink soaks into the fibre plastisol sits thicker on top, water based ink soaks in and is softest Setup per design plotting and weeding for each piece low low low one screen per colour Sensible quantity single pieces to small runs single pieces to small runs single pieces to medium runs single pieces to small runs large runs The statements on the feel of DTF, DTG and screen printing come from the print service Printify, the others from the linked articles in the wiki. Durability and washability The methods age differently: Sublimation: the dye sits in the fibre. There is no layer that could crack or peel. For Infusible Ink textiles, Cricut recommends washing inside out and cold, and ironing only at a low temperature so that the dye does not become active again. HTV: Cricut advises washing no earlier than after 24 hours, inside out and without bleach. If pressed badly, the film can come off. DTF: Printify gives 50 to 100 washes before fading, cracks or peeling become visible. Weak points are areas that move a lot, such as elbows and seams. Wunderlabel allows up to 60 °C"},{"t":"Elephant's foot in 3D printing: when the bottom layer bulges","k":"3D printing · Troubleshooting","d":"Do the bottom layers stick out at the sides? Where elephant's foot comes from and how to get rid of it with Z offset, bed temperature and slicer compensation.","u":"/en/3d-printing/troubleshooting/elephants-foot/","x":"With elephant's foot, the bottom layers of a print are wider than the rest. A small lip that sticks out forms at the base. For decorative items this hardly matters, but for parts that have to fit exactly it does: lids jam, parts cannot be pushed together, edges look untidy. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Elephant's foot: the bottom layers are wider than the target size and stick out at the sides as a lip\" <text class=\"t\" x=\"16\" y=\"26\" Elephant's foot</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <path class=\"part\" d=\"M110 90H230V214C240 220 248 230 246 240H94C92 230 100 220 110 214Z\"/ <path class=\"layer\" d=\"M110 102H230M110 114H230M110 126H230M110 138H230M110 150H230M110 162H230M110 174H230M110 186H230M110 198H230M110 210H230M102 222H238M96 232H244\"/ <path class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"4 4\" d=\"M110 70V260M230 70V260\"/ <text class=\"s\" x=\"104\" y=\"80\" text anchor=\"end\" Target size</text <text class=\"s bad t\" x=\"170\" y=\"274\" text anchor=\"middle\" bottom layers too wide</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Goal: the wall is straight down to the bed and holds the target size\" <text class=\"t\" x=\"16\" y=\"26\" Goal: straight to the bottom</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"110\" y=\"90\" width=\"120\" height=\"150\" rx=\"1\"/ <path class=\"layer\" d=\"M110 102H230M110 114H230M110 126H230M110 138H230M110 150H230M110 162H230M110 174H230M110 186H230M110 198H230M110 210H230M110 222H230M110 232H230\"/ <path class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"4 4\" d=\"M110 70V260M230 70V260\"/ <text class=\"s\" x=\"104\" y=\"80\" text anchor=\"end\" Target size</text <text class=\"s good t\" x=\"170\" y=\"274\" text anchor=\"middle\" wall holds its size</text </svg </div <figcaption Schematic illustration. On the left the bottom layers are squashed wide by a nozzle that is too low and a warm bed, and stick out beyond the target size. On the right the wall is straight down to the bed.</figcaption </figure How do you recognise elephant's foot? The bottom edge sticks out like a narrow bulge. A measured dimension is right at the top but a few tenths of a millimetre too large at the bottom. The lip is even all the way round. If it is only on one side, it is more likely a levelling problem. Do not confuse it with warping: there the corners lift off the bed. With elephant's foot everything is stuck down, just too wide. More about lifting is in Warping /3d druck/probleme/warping/ . Why does it happen? The first layer is deliberately pressed onto the bed a little so that it holds well. In the process it becomes wider than the layers above. Heat from below adds to this: the heated bed keeps the bottom layers soft for longer. The weight of the layers above then pushes them even further outwards. A little elephant's foot is therefore normal with almost every print. It becomes a problem when several causes come together. The causes, sorted by frequency 1. Z offset too low If the nozzle is too close to the bed in the first layer, the material is squashed flat and bulges out sideways. This is the most common cause. Solution: raise the Z offset in small steps of about 0.02 mm. The first layer should look slightly flattened, and the lines should touch but not fuse into a shiny, bulging film. What a good first layer looks like is covered in First layer does not stick /3d druck/probleme/erste schicht/ . 2. Bed too hot A hot bed keeps the lower layers soft for a long time. With PLA, 55 to 60 °C is usually enough. If you use 70 °C or more with PLA, you will almost certainly get elephant's foot. With PETG the problem also occurs if bed and nozzle run at the upper end of the manufacturer's range. Solution: lower the bed temperature in 5 degree steps as long as adhesion is still good. A nozzle temperature 5 to 10 °C lower in the first layer can also help. You will find guide values in the article on your materia"},{"t":"Engraving mugs and bottles: setting up a rotary axis","k":"Laser · Accessories","d":"Roller or chuck rotary, diameter, circumference, mm per rotation, focus and tapered tumblers: how to engrave stainless steel, glass, wood and ceramic mugs.","u":"/en/laser/accessories/engraving-mugs-and-bottles/","x":"A gantry laser only moves in X and Y over a flat surface. For a mug, a bottle or a wine glass you therefore need a rotary axis: it turns the workpiece under the laser head while the laser only moves in one direction. This guide shows which rotary to use for what, how to set it up and which materials can be engraved with diode, CO₂ or fibre lasers. Roller or chuck rotary There are two designs. According to the LightBurn documentation, a chuck rotary holds the workpiece with adjustable jaws, while on a roller rotary it rests on driven rollers and is turned by friction. Roller rotary Chuck rotary Principle Item rests loosely on rollers Item is clamped Strengths quick to place, large diameters, nothing is clamped does not slip, good for mugs with handles and non round items Weaknesses smooth or heavy items can slip, handles can get in the way diameter must be entered exactly, clamping too tightly endangers glass Typical for bottles, drinking glasses, straight tumblers cups, thermal mugs, stemmed wine glasses Some rotaries can do both. According to the manufacturer, the xTool RA2 Pro takes diameters of 3 to 198 mm in roller mode and 0 to 100 mm in chuck mode. Which rotary suits your machine is listed in the data sheets, for example for the xTool S1 20W /laser/geraete/xtool s1 20w/ RA2 Pro , the xTool P2S /laser/geraete/xtool p2s/ RA3 or the open Creality Falcon2 22W /laser/geraete/creality falcon2 22w/ its own Rotary Kit . The article Laser accessories /laser/zubehoer/laser zubehoer/ gives an overview of further accessories. Making room: risers and laser class With open diode lasers you simply place the rotary under the frame and raise the laser with risers if needed. Enclosed machines have a fixed floor and little height. For larger diameters you then need a riser base that the whole machine stands on. For the P2/P2S, xTool states that items under 42 mm work on the base plate without a riser, and from 42 mm the riser is recommended. For the xTool S1, the diameter range of the RA2 Pro is explicitly given as requiring the additional riser. Important: a riser can change the laser class. The Bambu Lab R1 is class 1 as delivered, but with the riser base or conveyor belt it is class 4 according to Tom's Hardware's test. You then need suitable laser safety glasses, which are not included. Before buying a riser, check in the manual which class your machine has with it. What this means in practice is covered under Laser safety /laser/sicherheit/laser sicherheit/ . Setting up in the software The software has to know how far the rotary should move for one full revolution. Otherwise the design is compressed or stretched. LightBurn: In the rotary setup you choose the rotary type. The documentation lists these values: mm per rotation: the distance the controller has to travel for the rotary to turn once completely. If the value is wrong, the output is compressed or stretched. Some controllers work with steps per rotation or per degree instead, depending on firmware and rotary. Roller diameter: on roller rotaries you measure the driven roller accurately once, after which the value stays the same. Object diameter: on a chuck rotary it has to be correct for every new item. On a roller rotary it does not affect the output; LightBurn only uses it to calculate the circumference. Test: the rotary turns once through 360 degrees and back. If it turns too far, you reduce mm per rotation; if it turns too little, you increase the value. On roller rotaries, what counts is the rotation of the roller, not that of the mug. xTool Studio: Here you choose the mode, for example \"Roller\" or \"Chuck\", and in chuck mode you enter the circumference or diameter of the item. Before the first real job, a test run at low power on an offcut or with masking tape on the mug is worthwhile. Measuring the diameter: Use a calliper and measure the outside at the point where you will engrave. On mugs with thickened walls or grooves, the value can differ between top and bottom. Desi"},{"t":"Engraving, cutting, marking: laser processes explained","k":"Laser · Basics","d":"What happens when you engrave, cut, mark and anneal, how deep and photo engraving work, and which laser type can do which process.","u":"/en/laser/basics/engraving-cutting-marking/","x":"A laser can remove material, cut through it or simply discolour the surface. Which result you get depends on laser type, power, speed and material. Here you can see what happens in each process and which laser can do what. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 270\" role=\"img\" aria label=\"Engraving removes material at the surface, cutting separates the material completely\" <text class=\"t\" x=\"16\" y=\"26\" Removing and cutting through</text <rect class=\"tool\" x=\"87\" y=\"50\" width=\"36\" height=\"30\" rx=\"3\"/ <path class=\"tool\" d=\"M95 80H115L111 88H99Z\"/ <path class=\"fil\" stroke width=\"2.5\" d=\"M105 88V162\"/ <rect class=\"tool\" x=\"235\" y=\"50\" width=\"36\" height=\"30\" rx=\"3\"/ <path class=\"tool\" d=\"M243 80H263L259 88H247Z\"/ <path class=\"fil\" stroke width=\"2.5\" d=\"M253 88V210\"/ <path class=\"part\" d=\"M24 150H70V162H140V150H250V210H24Z\"/ <path class=\"part\" d=\"M256 150H316V210H256Z\"/ <rect class=\"plate\" x=\"16\" y=\"210\" width=\"308\" height=\"12\" rx=\"3\"/ <text class=\"s\" x=\"105\" y=\"244\" text anchor=\"middle\" Engraving:</text <text class=\"s\" x=\"105\" y=\"260\" text anchor=\"middle\" material removed</text <text class=\"s\" x=\"253\" y=\"244\" text anchor=\"middle\" Cut:</text <text class=\"s\" x=\"253\" y=\"260\" text anchor=\"middle\" all the way through</text </svg <svg viewBox=\"0 0 340 270\" role=\"img\" aria label=\"Marking: annealing discolours the surface, on coated metal only the top coating is removed\" <text class=\"t\" x=\"16\" y=\"26\" Marking: surface only</text <rect class=\"tool\" x=\"87\" y=\"50\" width=\"36\" height=\"30\" rx=\"3\"/ <path class=\"tool\" d=\"M95 80H115L111 88H99Z\"/ <path class=\"fil\" stroke width=\"2.5\" d=\"M105 88V150\"/ <rect class=\"tool\" x=\"235\" y=\"50\" width=\"36\" height=\"30\" rx=\"3\"/ <path class=\"tool\" d=\"M243 80H263L259 88H247Z\"/ <path class=\"fil\" stroke width=\"2.5\" d=\"M253 88V150\"/ <rect class=\"part\" x=\"24\" y=\"150\" width=\"292\" height=\"60\" rx=\"2\"/ <path class=\"ink\" stroke width=\"4\" d=\"M66 152H144\"/ <rect class=\"tool\" x=\"186\" y=\"143\" width=\"44\" height=\"7\"/ <rect class=\"tool\" x=\"276\" y=\"143\" width=\"40\" height=\"7\"/ <rect class=\"plate\" x=\"16\" y=\"210\" width=\"308\" height=\"12\" rx=\"3\"/ <text class=\"s\" x=\"105\" y=\"244\" text anchor=\"middle\" Annealing:</text <text class=\"s\" x=\"105\" y=\"260\" text anchor=\"middle\" surface discoloured</text <text class=\"s\" x=\"253\" y=\"244\" text anchor=\"middle\" Coating</text <text class=\"s\" x=\"253\" y=\"260\" text anchor=\"middle\" removed</text </svg </div <figcaption Schematic cross section. On the left, engraving removes material and cutting separates it completely. On the right, the surface stays almost unchanged: annealing discolours it, and on coated metal only the top coating is removed.</figcaption </figure Engraving: removing material When engraving, the laser removes material at the surface. Wood burns and vaporises at the surface, so the engraving turns dark and slightly recessed. With acrylic, the material vaporises and the engraving turns matt and white. On slate and stone, the surface becomes lighter. The laser engraves areas line by line, much like a printer. The head traces one line, moves on by a small distance and traces the next. This line interval determines the resolution. In LightBurn, DPI = 25.4 divided by the line interval in mm. An interval of 0.1 mm therefore gives 254 DPI. The laser can also trace lines and contours directly along the path. This is called vector engraving or line mode. Low power produces a fine line, while more power and several passes produce a cut. Cutting: separating material When cutting, the laser traces the contour slowly until the material is cut through. Thick material needs several passes. What matters here: Power: More watts cut thicker material or cut faster. See Understanding laser power /laser/grundlagen/laserleistung/ . Focus: The spot must be small and in the right place, often slightly inside the material for thick stock. Air assist: An airflow blows smoke and embers out of the kerf. Without it there are more burn marks and flaring. On hobby lasers the kerf is usually only a "},{"t":"FDM or resin? Filament and resin printing compared","k":"3D printing · Resin printing","d":"Detail, build volume, strength, running costs, post-processing and health: when a filament printer is the better choice and when a resin printer is.","u":"/en/3d-printing/resin-printing/fdm-vs-resin/","x":"The short answer: for most beginners and for functional parts, a filament printer FDM is the better choice. A resin printer is worthwhile when fine detail matters more than anything else, for example with miniatures, jewellery or dental models, and when you have a room with good ventilation. The comparison FDM filament Resin MSLA Detail limited by nozzle and filament, layer lines visible, especially on curves very fine detail, smooth surface straight after printing Build volume large, many devices around 25 x 25 cm usually smaller, example Saturn 4 Ultra 16K: 21 x 12 x 22 cm Strength weaker in the Z direction than in X and Y equal in all directions, but standard resin is brittle Material per kg filament about €12 to €30 PLA, PETG hobby resin from about €16 Post processing remove supports, done wash, dry, post cure, remove supports Health emissions when heated, ventilation recommended liquid resin irritates and can cause allergies, more VOCs, gloves and ventilation mandatory Colours very many colours and effects smaller choice, often painted Detail and surface Here resin clearly wins. The pixels of modern hobby devices are about 14 to 50 µm, and according to Formlabs the surface is smooth straight after printing. An FDM part often needs a lot of sanding for a comparable surface. How the resolution comes about is explained in Resin printing explained /3d druck/resin/ . Strength FDM parts are weaker along the layers because the layers only adhere to each other. Resin parts are equally strong in all directions. Standard resin, however, is brittle and not very suitable for brackets, clips or tools. Tough resins partly close this gap but cost more. For robust functional parts, PETG or ASA on an FDM printer is usually still the simpler solution. Costs Hobby resin is available from about €16 per kilo, filament from about €12. With resin there are further costs: gloves, isopropanol, paper towels, disposal via the hazardous waste collection and wear parts such as the film in the vat bottom. Resin parts are also usually printed solid or just hollowed out, not with infill. Which resins exist and what they cost is covered under Resin types /3d druck/resin/resin arten/ . Effort and health An FDM print is usually finished once you take it off. A resin print has to be washed and cured, which takes time and needs space for containers and a lamp. Then there is handling the resin: it irritates the skin and can cause a permanent allergy. A study by UL measured 3 to 6 times more volatile organic compounds from a resin printer than the average for FDM printing, but considerably fewer particles. But FDM is not emission free either: the Ministry of Education of Baden Württemberg requires extraction or adequate ventilation for schools. Everything important about protection is covered under Safety in resin printing /3d druck/resin/sicherheit resin/ . What for what? FDM: functional parts, brackets, spare parts, large parts, prototypes, decoration, multicolour printing, getting started with 3D printing Resin: miniatures and tabletop figures, jewellery with casting resin also for investment casting , dental models, very small parts with fine detail In the end, many makers have both. If you only want one device and do not know exactly what you will print, start with a filament printer: Which 3D printer suits me? /3d druck/kaufberatung/welcher drucker/ For resin, you will find all devices in the overview of resin printers /3d druck/resin drucker/ . Sources Formlabs: When to choose SLA or FDM https://formlabs.com/de/blog/when to choose sla vs fdm/ Formlabs only sells resin printers Siraya Tech: Types of resin https://siraya.tech/blogs/news/types of resin for 3d printing UL Chemical Insights: Emissions from a resin printer 2021 https://chemicalinsights.ul.org/wp content/uploads/2021/05/2021 Summary Report Particle and Chemical Emissions from a Vat Photopolymerization 3D Printer.pdf Ministry of Education of Baden Württemberg: risk assessment for 3D printers no"},{"t":"Filament snaps or becomes brittle: causes and what you can do","k":"3D printing · Troubleshooting","d":"Why filament breaks on the spool, in the AMS or in the extruder, how to tell brittle filament, and how to get broken pieces out again.","u":"/en/3d-printing/troubleshooting/filament-breaking/","x":"Filament breaks when it has become brittle and is then bent. Manufacturers give three main reasons for this: moisture , tight bends on the way to the extruder, and materials that are brittle by nature , such as some fibre reinforced filaments. The first step is almost always: dry the filament and store it dry. If it has already broken, you need to get the remaining piece out of the tube, multi colour system or extruder before you can carry on. Why PLA in particular becomes brittle after a long time is, incidentally, not conclusively explained. Forums offer several explanations, from moisture through ageing to the stress from the curvature on the spool. Reliable manufacturer information exists mainly for the points below. Quick test: is the filament brittle? Unwind a piece of filament and bend it between your fingers. Healthy PLA or PETG bends noticeably before it breaks. If it breaks with only light bending, it is brittle. Mosaic, the maker of the Palette system, names exactly this as the sign to look for: if filament can be snapped without much force, it has probably become too brittle. The causes 1. Moisture Bambu Lab writes in its wiki that filament can also break in the print head if it is not dry enough. Typical accompanying signs of damp filament are crackling at the nozzle, more strings and rough surfaces. What helps: dry it and then store it airtight with desiccant. According to Bambu Lab, freshly dried filament at around 55 % humidity absorbs enough water after only 2 to 12 hours for print quality to suffer. Below 20 % relative humidity it stays dry much longer. Temperatures and times for each material are in Drying and storing filament /3d druck/filamente/trocknen/ , boxes, desiccants and target values in Storing filament properly /3d druck/filamente/filament lagern/ . 2. Tight bends on the way to the extruder Brittle filament breaks where it is bent most sharply. Bambu Lab names as typical break points the multi colour system itself, the area in or at the print head, and places where the PTFE tube is sharply bent, for example directly before the extruder. What helps: route tubes without tight curves. With brittle filament, use paths that are as short and straight as possible, for example the external spool holder instead of the multi colour system. 3. Material that is brittle by nature Some filaments are significantly less flexible than PLA or PETG even when new. Bambu Lab lists as \"too brittle\" for the AMS and AMS lite, among others, certain PET CF types, wood filled PLA, and PA CF/GF and PAHT CF/GF. With the CFS, Creality warns that hard filaments such as PPA CF or PPS CF can break in the tube. What helps: according to the manufacturer's list, do not feed such materials through the multi colour system but directly from the spool. More on these filaments can be found in Fibre reinforced filaments /3d druck/filamente/faserverstaerkte filamente/ . 4. Repeated heating and cooling For PC, Bambu Lab points out that the filament can become brittle after several drying cycles with heating and cooling. According to the manufacturer, the printed parts are not affected by this, but the filament breaks more easily during printing. Bambu Lab therefore advises storing dried PC airtight with desiccant straight away instead of drying it again and again. 5. Unfavourable storage Manufacturers recommend storing filament cool, dry, out of direct sunlight and away from heat sources. A spool that lies open next to the window for months has several disadvantages at once. Overview Sign Likely cause First step Breaks when bent, crackles when printing moisture dry it, store airtight Always breaks at the same point in the tube tight bend route the tube differently Fibre reinforced material breaks in the AMS or CFS material too brittle for the system print directly from the spool PC becomes brittle after repeated drying heat cycles store airtight after drying, do not keep re drying Filament broken in the AMS or in the tube Bambu Lab printers"},{"t":"Finding 3D models to print: platforms compared","k":"3D printing · 3D models","d":"Printables, MakerWorld, Thingiverse and more: what each platform offers, what is free and how to spot a good model before you download it.","u":"/en/3d-printing/3d-models/finding-3d-models/","x":"For almost every idea, someone has already uploaded a model. Brackets, organisers, spare parts, figures: the big platforms hold millions of files, most of them free. The difficulty is not finding something, but finding the model that is also easy to print. The most important platforms Printables Printables belongs to the printer manufacturer Prusa Research. The models are mostly free and run on any printer, not only on Prusa machines. Many uploads include print profiles as 3MF for various printer brands. Anyone who uploads models collects points Prusameters that can be exchanged for filament. There are also paid models in the Printables Store and memberships with individual designers clubs . They are marked in the search. MakerWorld MakerWorld is run by Bambu Lab. Here too, most models are free. Typical are ready made print profiles that open directly in Bambu Studio. For other printers you download the file and slice it yourself. Designers receive points for downloads and prints and can redeem them for vouchers or filament. There are also tools such as a generator for customisable models. Thingiverse Thingiverse is the oldest large platform and has a huge, free archive. In early 2026 it was taken over by MyMiniFactory; before that it belonged to UltiMaker. Because of its age, many models are already ten years old and come without a print profile. The Customizer is practical, as it lets you adapt some models in the browser. Thangs Thangs is a search engine and a platform at once. The search also finds models on other sites and can search for similar shapes. In addition, designers sell individual files or memberships with monthly downloads there. Cults3D Cults3D is a marketplace where many designers sell their models. There are also free files, but the focus is on paid models, such as figures, decoration and cosplay. MyMiniFactory MyMiniFactory focuses on miniatures and tabletop figures. The platform checks uploads before publication and offers subscriptions to individual designers through \"Tribes\". There are free and paid models. The platforms compared Platform Operator Free / paid Special feature Printables Prusa Research mostly free, plus store and memberships print profiles as 3MF, reward points MakerWorld Bambu Lab mostly free profiles for Bambu printers, points for vouchers Thingiverse MyMiniFactory since 2026 free very large, older archive, Customizer Thangs Thangs free and paid search across several platforms, shape search Cults3D Cults free and paid, focus on paid marketplace for designers MyMiniFactory MyMiniFactory free and paid checked uploads, miniatures, subscriptions Terms and reward programmes change regularly. The table shows the state as of 2026. How to recognise a good model A nice preview image says little about whether a model prints well. It is often just a rendering. Pay attention to these points instead: Makes and real photos: under \"Makes\" or \"Prints\", other users show their results. Many makes with clean photos are the best sign that the model works. Read the comments: this is where you find remarks such as \"fit too tight\" or \"needs support on the underside\". Sometimes the designer replies with an improved version. Print profile or 3MF: a supplied profile shows the orientation, layer height and supports the designer printed with. Even if you have a different printer, you can adopt the values. What is inside a 3MF file is explained in the article on file formats /3d druck/3d modelle/dateiformate/ . Description and printing notes: good designers name the material, infill and whether parts are plugged together or glued. Check the licence: it is shown below the model. It decides whether you may modify, share or sell the printed model. Look at remixes: often someone has improved the original, enlarged it or adapted it to another machine. Search tips Search in English. Most models have English titles. \"wall mount\", \"hook\" or \"cable clip\" return far more results than the German terms. Use the exact designatio"},{"t":"Finding Laser Files and Templates: Free Sources and Licences","k":"Laser · Software & files","d":"Where to find laser files and templates: Atomm, MakerWorld, LightBurn, generators, marketplaces. Plus licences, file formats and what to check before lasering.","u":"/en/laser/software/finding-laser-files/","x":"For key rings, coasters, boxes or slot together models you do not have to draw everything yourself. Many laser files are available for free, some for a fee. It is important that you know before downloading what you are allowed to do with the file, and that you check before lasering whether it suits your material. Where to find laser files Atomm xTool community Atomm is xTool's project platform. The earlier address projects.xtool.com now redirects there. Members publish projects with a materials list, files and step by step instructions. According to Atomm, registration, browsing and a large share of the downloads are free. There are also paid projects, which are sold individually or unlocked with credit. According to Atomm, a subscription is not required. The projects are geared towards xTool machines and xTool Studio. Atomm states, however, that designs and instructions are also useful for lasers from other brands. Atomm also offers generators and customisable templates, and xTool cites more than 10,000 templates for Studio. Different licences apply to Atomm depending on the content, more on this further down. MakerWorld: Laser & Cutting In May 2025, Bambu Lab launched a dedicated section for laser and cutting projects on MakerWorld. According to Bambu Lab, there is a growing collection of free laser projects that can be opened in Bambu Suite with one click, the software for Bambu Lab's lasers. Projects that combine several work steps, such as printing and laser, are currently linked by MakerWorld through links between individual projects. How MakerWorld works as a whole is explained in Finding 3D models /3d druck/3d modelle/modelle finden/ . LightBurn documentation The LightBurn documentation contains project guides with downloadable project files, for example a slot together dinosaur including a test file for the kerf. The guides also explain how to adapt slots to a different material thickness. For your own designs, LightBurn has an Art Library : this is where you store graphics, text and shapes that you often need. According to the documentation, it does not save power and speed settings, so you have to save the project yourself for that. Generators for boxes and slot together parts For boxes with finger joints, shelves or holders you do not need to search for a ready made file. Boxes.py is an open source generator GPLv3 that produces boxes and other parts as SVG. You enter dimensions and material thickness, and a separate parameter \"burn\" compensates for the laser's kerf. Other vector formats such as DXF are only possible via an additional program. An online version is run by the Hackerspace Bamberg. How to measure the kerf is explained in Preparing files for the laser /laser/software/laser dateien vorbereiten/ . 3D printing platforms and file collections Platforms such as Thingiverse are also used for laser files. The laser manufacturer Longer describes many laser projects there from open source undertakings, often with editable source files. There are also pure collections of free laser files. Of one of these collections, 3axis.co, Longer writes that it gathers files from many sources and that quality varies. With such collections it is often not clear who created the file and under which licence it is published. Commercial marketplaces On marketplaces and from individual designers you can buy laser files, individually or as a package in a subscription. The licence is set by the seller or the platform. A purchased file does not automatically mean you may sell the lasered parts. Read the terms before buying. Licences: what you may do with the file The same rules apply to laser files as to 3D models. Creative Commons, platform specific licences and commercial licences are explained in detail in the article May I sell 3D prints? /3d druck/3d modelle/lizenzen/ . Simply replace \"print\" with \"lasered part\" there. Atomm shows how different the rules can be on a single platform. Its licence agreement valid from 7 August 2026 d"},{"t":"First layer not sticking: 8 causes and fixes","k":"3D printing · Troubleshooting","d":"Print coming off the bed, or the first layer looking bad? Check the most common causes in order and fix them.","u":"/en/3d-printing/troubleshooting/first-layer/","x":"The first layer is the foundation of every 3D print. If it does not hold, the part eventually comes off the bed, and in the worst case the printer spends hours producing spaghetti. The good news: almost always one of a few causes is behind it. It is best to work through the list from top to bottom, with the most common causes first. 1. The print bed is not clean Fingerprints are the most common reason for poor adhesion. Even the grease from a single touch on the plate is enough. Fix: Wash the plate with warm water and a little washing up liquid and dry it well. Isopropanol helps in between. After that, touch the plate only at the edge. 2. The distance between nozzle and bed is wrong If the nozzle is too far away, the lines just lie there round and loose. If it is too close, the material is squashed flat or hardly anything comes out. The right value is called the Z offset. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 260\" role=\"img\" aria label=\"Wrong nozzle distance in cross section: too high, the lines lie round and loose with gaps; too low, they are squashed flat\" <text class=\"t\" x=\"16\" y=\"26\" Wrong distance</text <rect class=\"plate\" x=\"16\" y=\"210\" width=\"308\" height=\"14\" rx=\"3\"/ <path class=\"ink\" stroke width=\"1\" opacity=\"0.35\" d=\"M170 60V226\"/ <circle class=\"part\" cx=\"70\" cy=\"199\" r=\"11\"/ <circle class=\"part\" cx=\"112\" cy=\"199\" r=\"11\"/ <rect class=\"tool\" x=\"93\" y=\"124\" width=\"38\" height=\"28\" rx=\"3\"/ <path class=\"tool\" d=\"M104 152H120L114 168H110Z\"/ <text class=\"s\" x=\"90\" y=\"84\" text anchor=\"middle\" round, loose,</text <text class=\"s\" x=\"90\" y=\"100\" text anchor=\"middle\" with gaps</text <ellipse class=\"part\" cx=\"227\" cy=\"206\" rx=\"25\" ry=\"4\"/ <ellipse class=\"part\" cx=\"277\" cy=\"206\" rx=\"25\" ry=\"4\"/ <rect class=\"tool\" x=\"258\" y=\"158\" width=\"38\" height=\"28\" rx=\"3\"/ <path class=\"tool\" d=\"M269 186H285L279 202H275Z\"/ <text class=\"s\" x=\"250\" y=\"84\" text anchor=\"middle\" squashed flat</text <text class=\"s bad t\" x=\"90\" y=\"248\" text anchor=\"middle\" Nozzle too high</text <text class=\"s bad t\" x=\"250\" y=\"248\" text anchor=\"middle\" Nozzle too low</text </svg <svg viewBox=\"0 0 340 260\" role=\"img\" aria label=\"Correct nozzle distance in cross section: the lines are slightly flattened and touch without gaps\" <text class=\"t\" x=\"16\" y=\"26\" Goal: correct distance</text <rect class=\"plate\" x=\"16\" y=\"210\" width=\"308\" height=\"14\" rx=\"3\"/ <ellipse class=\"part\" cx=\"94\" cy=\"202\" rx=\"22\" ry=\"8\"/ <ellipse class=\"part\" cx=\"138\" cy=\"202\" rx=\"22\" ry=\"8\"/ <ellipse class=\"part\" cx=\"182\" cy=\"202\" rx=\"22\" ry=\"8\"/ <ellipse class=\"part\" cx=\"226\" cy=\"202\" rx=\"22\" ry=\"8\"/ <rect class=\"tool\" x=\"207\" y=\"150\" width=\"38\" height=\"28\" rx=\"3\"/ <path class=\"tool\" d=\"M218 178H234L228 194H224Z\"/ <text class=\"s\" x=\"170\" y=\"100\" text anchor=\"middle\" slightly flattened,</text <text class=\"s\" x=\"170\" y=\"116\" text anchor=\"middle\" lines touch each other</text <text class=\"s good t\" x=\"170\" y=\"248\" text anchor=\"middle\" Z offset is right</text </svg </div <figcaption Schematic view, cross section of the first lines. On the left, with the nozzle too high they lie round and loose, and with the nozzle too low they are squashed flat. On the right, they are slightly flattened and join up without gaps.</figcaption </figure Fix: The first layer should look slightly flattened, with the lines touching without gaps. On printers with automatic measurement, start the calibration again. Otherwise adjust the Z offset in small steps of 0.02 mm. 3. The bed is uneven or not levelled A slightly warped plate means the first layer holds in some places and not in others. Fix: Run auto bed levelling before the print. On manual printers, readjust the corners. 4. The bed temperature does not suit the material PLA sticks well at 55 °C, PETG needs more like 70 to 85 °C, and ABS even more. If the bed is too cold, the print comes off. If it is too hot, an elephant's foot can form with PLA. Fix: Adjust the bed temperature to the material. You will find guide values in our filament overview /3d"},{"t":"Fixing holes and gaps in the top surface (pillowing)","k":"3D printing · Troubleshooting","d":"Holes and bumps in the top surface? Why pillowing happens and how to get a smooth surface with top layers, infill and cooling.","u":"/en/3d-printing/troubleshooting/pillowing/","x":"The top of a print should be a closed, smooth surface. Sometimes it is not: there are small holes, rough spots or bumps that look like a puffed up pillow. That is where the name pillowing comes from. Usually it is not a defect but a few settings in the slicer. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Pillowing in cross section: a single top layer sags between the infill lines and tears open\" <text class=\"t\" x=\"16\" y=\"26\" Too few top layers</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"30\" y=\"128\" width=\"14\" height=\"112\" rx=\"1\"/ <rect class=\"part\" x=\"296\" y=\"128\" width=\"14\" height=\"112\" rx=\"1\"/ <rect class=\"part\" x=\"103\" y=\"134\" width=\"8\" height=\"106\"/ <rect class=\"part\" x=\"166\" y=\"134\" width=\"8\" height=\"106\"/ <rect class=\"part\" x=\"229\" y=\"134\" width=\"8\" height=\"106\"/ <path class=\"fil\" stroke width=\"5\" stroke linecap=\"round\" d=\"M42 131Q75 163 107 131Q139 163 170 131M233 131Q265 163 298 131M170 131Q184 140 190 152M233 131Q219 140 213 152\"/ <path class=\"bad\" stroke width=\"1.5\" d=\"M201 108V124M195 118L201 126L207 118\"/ <text class=\"s bad t\" x=\"201\" y=\"100\" text anchor=\"middle\" Hole</text <text class=\"s\" x=\"138\" y=\"210\" text anchor=\"middle\" Infill</text <text class=\"s bad t\" x=\"170\" y=\"274\" text anchor=\"middle\" Top layer sags and tears</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Goal: several top layers even out the sagging, the top surface is smooth and closed\" <text class=\"t\" x=\"16\" y=\"26\" Goal: closed surface</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"30\" y=\"92\" width=\"14\" height=\"148\" rx=\"1\"/ <rect class=\"part\" x=\"296\" y=\"92\" width=\"14\" height=\"148\" rx=\"1\"/ <rect class=\"part\" x=\"103\" y=\"134\" width=\"8\" height=\"106\"/ <rect class=\"part\" x=\"166\" y=\"134\" width=\"8\" height=\"106\"/ <rect class=\"part\" x=\"229\" y=\"134\" width=\"8\" height=\"106\"/ <path class=\"part\" d=\"M44 92H296V131Q265 155 233 131Q202 155 170 131Q139 155 107 131Q75 155 44 131Z\"/ <path class=\"layer\" d=\"M44 102H296M44 112H296M44 122H296\"/ <text class=\"s good t\" x=\"296\" y=\"80\" text anchor=\"end\" several top layers</text <text class=\"s\" x=\"138\" y=\"210\" text anchor=\"middle\" Infill</text <text class=\"s good t\" x=\"170\" y=\"274\" text anchor=\"middle\" Top smooth and closed</text </svg </div <figcaption Schematic illustration, cross section below the top surface. On the left a single top layer has to span the gaps in the infill, sags and tears open. On the right further top layers even this out.</figcaption </figure How do you recognise pillowing? Holes or gaps between the lines of the top layer. Bumps and bulges on flat surfaces, especially large ones. The infill pattern shows through , the grid lines underneath are visible through the top surface. The problem occurs only on top , the walls and the underside are fine. If the walls are also thin and full of holes, under extrusion /3d druck/probleme/unterextrusion/ is the more likely cause. Start there first. Why does it happen? The topmost closed surface is not printed onto a solid base but onto the infill. There is air between the infill lines. The first top layers have to span these gaps, much like a small bridge. They easily sag or tear open in the process. Only the following layers smooth everything out. If there are too few, the uneven structure stays visible. The causes, sorted by frequency 1. Too few top layers This is the most common cause. Every additional top layer smooths the surface further. Prusa recommends at least 3 top layers. More important than the number, though, is the total thickness: the Prusa profiles set a minimum top thickness of 0.7 mm. Layer height Top layers for about 0.7 to 1 mm 0.1 mm 7 to 10 0.2 mm 4 to 5 0.3 mm 3 to 4 Fix: Increase the number of top layers or specify a minimum thickness for the top in the slicer. With low layer heights you need correspondingly more layers. Details on walls and top layers are in Walls and top layers /3d dru"},{"t":"Fixing under-extrusion: gaps and thin walls","k":"3D printing · Troubleshooting","d":"Is your printer feeding too little material? How to recognise under-extrusion, what causes it and how to fix it step by step.","u":"/en/3d-printing/troubleshooting/under-extrusion/","x":"With under extrusion, less plastic comes out of the nozzle than the printer actually wants to lay down. The result is gaps between the lines, thin or holey walls and surfaces through which you can see the infill. In the worst case the print stops altogether because nothing comes out at all. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 250\" role=\"img\" aria label=\"Under extrusion in cross section: thin lines with gaps between them\" <text class=\"t\" x=\"16\" y=\"26\" Too little material</text <rect class=\"plate\" x=\"16\" y=\"190\" width=\"308\" height=\"14\" rx=\"3\"/ <ellipse class=\"part\" cx=\"62\" cy=\"181\" rx=\"13\" ry=\"9\"/ <ellipse class=\"part\" cx=\"106\" cy=\"181\" rx=\"13\" ry=\"9\"/ <ellipse class=\"part\" cx=\"150\" cy=\"181\" rx=\"13\" ry=\"9\"/ <ellipse class=\"part\" cx=\"194\" cy=\"181\" rx=\"13\" ry=\"9\"/ <ellipse class=\"part\" cx=\"238\" cy=\"181\" rx=\"13\" ry=\"9\"/ <ellipse class=\"part\" cx=\"282\" cy=\"181\" rx=\"13\" ry=\"9\"/ <rect class=\"tool\" x=\"263\" y=\"110\" width=\"38\" height=\"28\" rx=\"3\"/ <path class=\"tool\" d=\"M274 138H290L284 154H280Z\"/ <path class=\"fil\" stroke width=\"2\" d=\"M282 154V172\"/ <text class=\"s\" x=\"252\" y=\"128\" text anchor=\"end\" thin strand</text <text class=\"s bad t\" x=\"170\" y=\"236\" text anchor=\"middle\" Gaps between the lines</text </svg <svg viewBox=\"0 0 340 250\" role=\"img\" aria label=\"Goal: the lines are full and meet with no gaps\" <text class=\"t\" x=\"16\" y=\"26\" Goal: right amount</text <rect class=\"plate\" x=\"16\" y=\"190\" width=\"308\" height=\"14\" rx=\"3\"/ <ellipse class=\"part\" cx=\"62\" cy=\"181\" rx=\"23\" ry=\"9\"/ <ellipse class=\"part\" cx=\"106\" cy=\"181\" rx=\"23\" ry=\"9\"/ <ellipse class=\"part\" cx=\"150\" cy=\"181\" rx=\"23\" ry=\"9\"/ <ellipse class=\"part\" cx=\"194\" cy=\"181\" rx=\"23\" ry=\"9\"/ <ellipse class=\"part\" cx=\"238\" cy=\"181\" rx=\"23\" ry=\"9\"/ <ellipse class=\"part\" cx=\"282\" cy=\"181\" rx=\"23\" ry=\"9\"/ <rect class=\"tool\" x=\"263\" y=\"122\" width=\"38\" height=\"28\" rx=\"3\"/ <path class=\"tool\" d=\"M274 150H290L284 166H280Z\"/ <text class=\"s good t\" x=\"170\" y=\"236\" text anchor=\"middle\" Lines meet with no gaps</text </svg </div <figcaption Schematic, cross section through one layer. On the left too little plastic comes out of the nozzle, so the lines are thin and leave gaps. On the right they are full and touch each other.</figcaption </figure How can you recognise under extrusion? Gaps between the lines , especially on the top surface Thin, fragile walls that are easy to dent Missing lines in individual layers Clicking or rattling noise at the extruder: the gear slips because the filament does not keep up The top looks like a mesh instead of a closed surface The causes, sorted by frequency 1. Too fast for the hotend Every hotend can only melt a certain amount of plastic per second. If printing is faster, the material cannot keep up. This happens especially with large nozzles, tall layers or very fast profiles. Solution: Reduce the speed or set a maximum volumetric flow for the filament in the slicer. In OrcaSlicer the right value can be determined with a built in test. A somewhat higher temperature also helps, see Setting the print temperature /3d druck/einstellungen/drucktemperatur/ . 2. Partially clogged nozzle Small residues in the nozzle narrow the opening. The printer keeps printing, but with less material. Solution: Clean or replace the nozzle. How this works is covered under Clogged nozzle /3d druck/probleme/duese verstopft/ . 3. Temperature too low If the plastic is not fluid enough, it flows too slowly through the nozzle. Solution: Raise the temperature in steps of 5 degrees and observe the manufacturer's figure on the spool. 4. Problems with the filament Tangled or jammed spool: The filament cannot unwind freely. Check the spool and make it run smoothly. Damp filament: Steam bubbles disturb the material flow. More on this in Drying and storing filament /3d druck/filamente/trocknen/ . Fluctuating diameter: With very cheap filament the diameter can fluctuate strongly. Test with a different spool. 5. Extruder not gripping properly If the contact pressure of the gear"},{"t":"Food-Safe 3D Printing: What PLA and PETG Can Really Do","k":"3D printing · Filaments","d":"Is PLA or PETG food safe? What declarations of conformity under Regulation (EU) No 10/2011 mean, why layer grooves, nozzles and dyes are the problem.","u":"/en/3d-printing/filaments/food-safe-3d-printing/","x":"The honest answer: a filament can be suitable as a raw material for food contact. A printed part is still a long way from being so. Prusa and Polymaker both advise against repeatedly using printed parts for eating and drinking. Short, dry contact, as with a cookie cutter, is defensible. For cups, plates, tins or chopping boards, an FDM print is not suitable without further measures. Why that is, and what you can do if a part really is to touch food, is explained below. What \"food safe\" means for filament In the EU, the basic rules of Regulation EC No 1935/2004 apply to all materials in contact with food. Under normal or foreseeable conditions they must not release constituents into food in quantities that endanger health or change taste and composition unacceptably. For plastics, Regulation EU No 10/2011 makes this specific, with lists of authorised substances and limits for migration, that is, for what may pass from the plastic into the food. Manufacturers demonstrate compliance with a declaration of conformity . According to the Federal Office of Consumer Protection and Food Safety BVL , it must be available in writing at all stages of trade except retail, including for starting products. The responsible business operator issues it and must present supporting documents such as test conditions and analyses to the authorities on request. An example shows what this means in practice: in its regulatory data sheets for PLA and PETG, Extrudr certifies that the composition of the product meets the requirements of Regulation EU No 10/2011. At the same time, the technical data sheet states that the certification depends on the colours in the final product. The declaration therefore concerns the material as it leaves the manufacturer, not your printed part. You should also know two other things: \"FDA compliant\" is not an EU statement. Many filaments advertise with the US authority FDA. Polymaker writes that there is no FDA certification specifically for 3D printing materials and that, for food safety, what counts in the end is the finished object, not the raw material. Only a few manufacturers have their products certified. Prusa writes that many materials are considered food safe, but only a handful of manufacturers have gone through the costly certification process. Why the printed part is the problem Layer grooves and bacteria FDM prints consist of layers with fine grooves and gaps between them. Food residue settles in them, and bacteria can multiply. Polymaker writes that such parts can hardly be cleaned reliably; a part might still be defensible for single use, but hardly for repeated contact. Prusa recreated this in its own test with a printed PLA cup and concludes: smaller layer heights and 100 % infill help, but are never enough. The nozzle Common nozzles are made of brass. Polymaker and Prusa point out that brass contains lead and abrasion can be transferred to the printed part. Prusa also says this of hardened steel nozzles and recommends a stainless steel nozzle for food applications. In addition, a nozzle that other materials have previously run through can, according to Polymaker, carry residues of them into the new print. Prusa recommends cleaning the hotend thoroughly beforehand, for example with a cold pull. Which nozzles are available is covered under Nozzles for 3D printers /3d druck/zubehoer/duesen/ . Dyes and additives The base material may be suitable, but dyes, fillers or modifiers may not be. Polymaker explicitly names pigments and additives as a risk. For individual Prusament colours, Prusa obtained confirmation from the dye manufacturer and lists these colours individually. This does not automatically apply to effect filaments such as silk, glitter, wood or metal. Heat and dishwasher According to Polymaker, prints can deform, release substances or age after dishwasher cycles, hot water or repeated heat. According to the Prusament data sheet, PLA has a heat deflection temperature of only 55 °C. Which materials "},{"t":"From scan to print: cleaning up, repairing, exporting","k":"3D printing · 3D scanning","d":"How to clean up a 3D scan, close holes, check the size and bring it into the slicer as an STL, plus the legal position when scanning people and figures.","u":"/en/3d-printing/3d-scanning/scan-to-print/","x":"A fresh scan is rarely printable straight away. Usually there are remnants of the table attached, there are holes, and the model consists of millions of triangles. A few steps turn it into a clean print model. 1. Cleaning up in the scanning software The manufacturer's scanning software is the first step. CrealityScan, Revo Scan and the other programs offer the most important tools directly: Remove stray points: Points that do not belong to the object, for example from the surface it sits on. Revo Scan can remove table surfaces automatically. Align and merge: Join several scans, for example top and bottom, into one model. Generate a mesh: Calculate a closed triangle mesh from the point cloud. Close holes: Small gaps can be filled automatically in most programs. CrealityScan offers this automatically or manually. Remember: automatically filled areas are estimated. They rarely match the original exactly. For spare parts that have to fit, it is better to rescan missing areas. 2. Simplifying A scan can have a very large number of triangles. This makes files large and slicers slow. Reduce the triangle count as far as possible while keeping the details you need. Most scanning programs and MeshLab have a function for this. 3. Checking and repairing For printing, the model must be closed , meaning without holes and without errors in the mesh. There are free programs for this: MeshLab: Open source. For cleaning, repairing, checking and converting triangle meshes, including scan data. Current version 2025.07. Blender with the 3D Print Toolbox: An add on from Blender 4.2. It finds open areas, repairs them with \"Make Manifold\", measures the model and can hollow it out with even wall thickness. Meshmixer: According to Autodesk, Meshmixer is no longer being developed or supported, but is still available free of charge. For beginners it still works, but there are no updates. 4. Checking the size The scanner delivers the model at real size. STL and OBJ files, however, do not store a unit. The slicer usually assumes millimetres. After importing, check that the dimensions are correct. Measure the real part to do this. If the model is 10 or 1,000 times too small or too large, the unit was read wrongly. 5. Wall thickness and hollowing out A scan is a solid body. You print large figures more economically if you hollow them out. Watch the wall thickness: for normal FDM parts, All3DP gives 0.8 to 1.6 mm, that is 3 to 4 lines with a 0.4 mm nozzle. The slicer leaves out walls thinner than one line width. 6. Exporting STL for the slicer, if you only need the shape. OBJ or PLY if the colour is to be kept, for example for a colour print or for games and 3D graphics. 3MF is also offered by some programs, for example the Einstar software. What the law says This is not legal advice, just an overview of the basics in Germany. People: Under § 22 of the Art Copyright Act Kunsturhebergesetz , likenesses may only be distributed or shown publicly with the consent of the person depicted. Whether a 3D scan counts as a likeness is not expressly regulated by the law. Get consent before the scan, especially if you want to show, sell or upload the model. Figures and artworks: Works of fine art and applied art are protected under § 2 of the Copyright Act Urheberrechtsgesetz . Under § 53, individual copies for private use are permitted if they do not serve a commercial purpose. However, these copies may be neither distributed nor shown publicly. Uploading a scan of a protected figure to a model platform or selling prints of it is therefore not permitted. Your own parts and spare parts: Trademark and design law have their own rules. If you want to sell replicas, have this checked beforehand. Sources Formlabs: How to Choose the Best 3D Scanner for 3D Printing https://formlabs.com/blog/how to choose a 3d scanner for 3d printing/ Revopoint: 3D Scanning Tips and Tricks https://www.revopoint3d.com/blogs/blog/3d scanning tips and tricks MeshLab https://www.meshlab.net/ and Blend"},{"t":"Gantry or galvo: which laser design suits your projects","k":"Laser · Basics","d":"Gantry or galvo: how both laser designs work, how fast they are, how big the work area is and what each one is suited to.","u":"/en/laser/basics/gantry-vs-galvo-laser/","x":"A laser engraver has to guide the laser spot across the material. There are two fundamentally different solutions: with a gantry the whole laser head moves, with a galvo mirrors steer only the beam. That sounds like a technical detail, but it decides speed, work area and whether you can cut. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Gantry: the laser head moves along an axis across the area, and the beam hits vertically everywhere\" <text class=\"t\" x=\"16\" y=\"26\" Gantry: the head moves</text <rect class=\"plate\" x=\"20\" y=\"64\" width=\"300\" height=\"10\" rx=\"3\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M70 50H270M78 44L68 50L78 56M262 44L272 50L262 56\"/ <rect class=\"tool\" x=\"56\" y=\"74\" width=\"40\" height=\"30\" rx=\"3\" opacity=\"0.35\"/ <path class=\"fil\" stroke width=\"2\" opacity=\"0.35\" d=\"M76 104V220\"/ <rect class=\"tool\" x=\"244\" y=\"74\" width=\"40\" height=\"30\" rx=\"3\" opacity=\"0.35\"/ <path class=\"fil\" stroke width=\"2\" opacity=\"0.35\" d=\"M264 104V220\"/ <rect class=\"tool\" x=\"150\" y=\"74\" width=\"40\" height=\"30\" rx=\"3\"/ <path class=\"tool\" d=\"M160 104H180L176 112H164Z\"/ <path class=\"fil\" stroke width=\"2.5\" d=\"M170 112V220\"/ <rect class=\"part\" x=\"30\" y=\"220\" width=\"280\" height=\"20\" rx=\"2\"/ <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <text class=\"s\" x=\"170\" y=\"278\" text anchor=\"middle\" large area, beam always vertical</text </svg <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Galvo: the head stays still, mirrors steer the beam across a small field, and at the edge it hits at an angle\" <text class=\"t\" x=\"16\" y=\"26\" Galvo: mirrors steer</text <rect class=\"tool\" x=\"140\" y=\"46\" width=\"60\" height=\"44\" rx=\"4\"/ <path class=\"ink\" stroke width=\"2.5\" d=\"M160 76L180 60\"/ <path class=\"tool\" d=\"M150 90H190L184 100H156Z\"/ <path class=\"fil\" stroke width=\"2.5\" d=\"M170 100L90 220M170 100V220M170 100L250 220\"/ <rect class=\"part\" x=\"70\" y=\"220\" width=\"200\" height=\"20\" rx=\"2\"/ <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <text class=\"s\" x=\"132\" y=\"64\" text anchor=\"end\" head stays still</text <text class=\"s\" x=\"132\" y=\"80\" text anchor=\"end\" mirrors in the head</text <text class=\"s\" x=\"324\" y=\"164\" text anchor=\"end\" angled at the edge</text <text class=\"s\" x=\"170\" y=\"278\" text anchor=\"middle\" small field, very fast</text </svg </div <figcaption Schematic illustration. On the left the laser head moves on axes across the area and the beam hits vertically everywhere. On the right the head stays still, mirrors steer the beam across a small field, and at the edge it hits at a slight angle.</figcaption </figure The gantry principle With a gantry, the laser head sits on a carriage. It moves on two axes across the work area, driven by stepper motors and belts or lead screws. Some machines use a CoreXY layout, in which two motors move both axes together. The beam always hits the material vertically from above. Almost all diode lasers and practically all hobby CO₂ lasers work this way. Examples are the xTool S1 40W /laser/geraete/xtool s1 40w/ as an enclosed diode laser and the xTool P2S /laser/geraete/xtool p2s/ as a CO₂ laser. The galvo principle With a galvo, the laser head stays still. Inside the head are two small mirrors on galvanometer drives. One deflects the beam in the X direction, the other in the Y direction. A flat field lens F theta lens ensures that the spot stays in focus on one plane across the whole work field. Because only light mirrors move and no mechanism with weight, a galvo is extremely fast. Fibre and UV lasers are almost always galvo machines. There are also diode lasers with a galvo, such as the xTool F2 /laser/geraete/xtool f2/ , which combines a diode with an infrared laser. The comparison Gantry Galvo Movement laser head moves on axes mirrors steer the beam, head stays still Typical speed 400 to 600 mm/s for hobby diode lasers, CO₂ machines sometimes 1,000 to 2,000 mm/s 4,000 to 15,000 mm/s Work area usually 300 x 300 to 850 x 800 mm, compact machines from 1"},{"t":"Ghosting and ringing: fixing ripples beside edges on 3D prints","k":"3D printing · Troubleshooting","d":"Fine ripples or shadows beside edges and lettering? Why vibrations cause ghosting and how to reduce them mechanically and in the slicer.","u":"/en/3d-printing/troubleshooting/ghosting-and-ringing/","x":"Ghosting, also called ringing, shows up as fine ripples on a wall directly beside an edge, a hole or an embossed detail. It looks as if the detail repeats a few millimetres further on, like an echo. You see it most clearly in raking light on smooth outer walls. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Ghosting seen from above: after a corner the print head keeps oscillating and leaves fading ripples in the wall\" <text class=\"t\" x=\"16\" y=\"26\" Ghosting top view </text <path class=\"fil\" stroke width=\"6\" stroke linejoin=\"round\" d=\"M40 90H250L256.8 93L257.5 96L252.3 99L245.9 102L243.6 105L246.5 108L251.7 111L255.0 114L254.0 117L250.0 120L246.5 123L246.2 126L248.8 129L252.1 132L253.3 135L251.8 138L249.1 141L247.4 144L247.9 147L250.0 150L251.8 153L252.0 156L250.6 159L248.9 162L248.3 165L249.1 168L250.5 171L251.3 174L251.1 177L250.0 180L249.1 183L249.0 186L249.7 189L250.5 192L250.9 195L250.5 198L249.8 201L249.3 204L249.5 207L250.0 210L250.5 213L250.5 216L250.2 219L249.7 222L249.6 225L249.8 228L250.1 231L250.3 234L250.3 237L250.0 240\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M60 70H140M132 64L142 70L132 76\"/ <text class=\"s\" x=\"60\" y=\"58\" Direction of travel</text <text class=\"s bad t\" x=\"234\" y=\"116\" text anchor=\"end\" Head keeps swinging</text <text class=\"s bad t\" x=\"234\" y=\"132\" text anchor=\"end\" after the corner</text <text class=\"s bad t\" x=\"170\" y=\"270\" text anchor=\"middle\" Ripples that fade slowly</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Goal: with input shaping the wall stays straight after the corner\" <text class=\"t\" x=\"16\" y=\"26\" Goal: a calm wall</text <path class=\"fil\" stroke width=\"6\" stroke linejoin=\"round\" d=\"M40 90H250V240\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M60 70H140M132 64L142 70L132 76\"/ <text class=\"s\" x=\"60\" y=\"58\" Direction of travel</text <text class=\"s good t\" x=\"234\" y=\"116\" text anchor=\"end\" Input shaping:</text <text class=\"s good t\" x=\"234\" y=\"132\" text anchor=\"end\" no residual swinging</text <text class=\"s good t\" x=\"170\" y=\"270\" text anchor=\"middle\" Wall stays straight</text </svg </div <figcaption Schematic illustration, looking down on an outer wall. On the left, the print head keeps swinging after the abrupt change of direction and prints fading ripples into the wall. On the right, the vibrations are damped by input shaping, taut belts and lower acceleration.</figcaption </figure How do you recognise ghosting? Ripples directly after a corner that fade after a few millimetres. Shadows of letters or holes beside them on the wall. The ripples are evenly spaced from one another. They occur in the direction of travel , so often only on walls along the X or Y axis. Do not confuse it with a shifted layer: with a layer shift /3d druck/probleme/layer shift/ the whole part is offset from a certain height. Ghosting, by contrast, is a surface pattern, and the dimensions are correct. Why do the ripples appear? The print head, and on many printers the bed as well, are masses that are constantly accelerated and braked. At a corner the head changes direction abruptly. The frame, belts and mounts flex briefly and oscillate. This oscillation is printed into the wall as a ripple. The faster and more jerky the changes of direction, the heavier the moving mass and the softer the mechanics, the stronger the ghosting. Bed slingers are somewhat more susceptible because the whole bed with the print moves back and forth. More on this in Bed slinger or CoreXY /3d druck/grundlagen/bettschubser oder corexy/ . What helps, sorted by effect 1. Use input shaping Input shaping measures at which frequencies the printer vibrates and adjusts the movements so that these vibrations cancel each other out. Many current printers have an accelerometer built in for this and calibrate it automatically, sometimes under the name vibration compensation or resonance compensation. With firmware such as Klipper and with current Prusa firmware, it can also be set up or recalib"},{"t":"Gluing 3D prints: which glue for PLA, PETG, ABS, ASA and TPU?","k":"3D printing · Accessories","d":"Super glue, two-part epoxy, acetone or flexible adhesive: what holds on which filament, how to prepare the surfaces and what to bear in mind for safety.","u":"/en/3d-printing/accessories/gluing-3d-prints/","x":"The short answer: for small PLA parts use super glue, and for large or loaded joints use two part epoxy. ABS and ASA can also be welded with acetone. PETG is considered hard to glue, so two part epoxy after thorough sanding is the safe choice here. TPU needs an adhesive that stays flexible itself. For all materials, preparation matters more than the brand of glue. Which glue for which filament? Material Well suited Notes PLA /3d druck/filamente/pla/ super glue, two part epoxy, solvent based specialist adhesives Prusa: some PLA types can be softened with acetone, super glue is the easy way PETG /3d druck/filamente/petg/ two part epoxy, super glue after sanding, specialist adhesive for PET Polymaker calls PET and PETG \"traditionally hard to glue\". Solvents only in a laboratory ABS /3d druck/filamente/abs/ acetone, super glue, two part epoxy Henkel: super glue can trigger stress cracks ASA /3d druck/filamente/asa/ acetone, super glue, two part epoxy as for ABS TPU /3d druck/filamente/tpu/ flexible adhesives, for example polyurethane based, rubber modified super glue normal glue joints are rigid and tear when bent Nylon /3d druck/filamente/nylon/ two part epoxy or join mechanically Polymaker advises against adhesives for nylon altogether The assessments come from the Prusa and Polymaker wikis and from Henkel's Loctite plastics bonding guide. Filaments differ depending on the manufacturer and additives, so test new combinations on an offcut. Step 1: Prepare the surfaces Polymaker calls surface preparation \"crucial for all adhesives\". Here is how to proceed: 1. Check the fit. The parts should lie on top of each other without force. According to Henkel, super glue can only bridge narrow gaps, and larger gaps can only be filled by two part adhesives. 2. Sand. Lightly roughen smooth surfaces, especially the glossy underside from the print bed, with sandpaper. In the Henkel guide, roughened plastic samples reached higher strengths than smooth ones with many adhesives. 3. Degrease. For almost all plastics, Henkel names isopropyl alcohol as the cleaner. Afterwards do not touch the surfaces with your fingers. 4. Fix in place. Clamps, tape or a printed holder hold the parts until the glue has set. If you design the parts yourself, plan the glue joint in: according to Henkel, super glues hold well in shear and tension but poorly against peeling. Overlaps, tenons or dowel pins that enlarge the bonding area and take up forces as shear therefore hold better than a butt joint. Super glue cyanoacrylate The fastest way for small parts made of PLA, ABS and ASA. Henkel summarises the properties like this: Advantages: one component, cures in seconds at room temperature, holds well on many plastics, available as a thin liquid and as a gel. Disadvantages: hardly fills gaps, weak against peel forces, low heat resistance, bonds skin instantly, can soften some plastics and trigger stress cracks. Practical notes: Gel rather than liquid for vertical surfaces and small gaps. Polymaker describes gel super glue as easy to dose and cured transparent in under a minute. Remove excess immediately. With ABS, ASA and polyurethane, Henkel expressly points out that uncured super glue can cause stress cracks. A white haze around the joint appears, according to Henkel, when glue evaporates and settles on the part. Less glue and good ventilation help; there are also low odour variants that are less prone to it. Activator speeds up curing, primer improves adhesion on hard to bond plastics. According to Henkel, depending on the plastic, up to 20 times the strength of the unprimed joint is possible with primer. Not for permanent load. Polymaker writes that super glue can fail under sustained load. Two part epoxy For large surfaces, loaded joints and poor fits, two part epoxy adhesive is the more robust choice. According to Henkel, epoxy offers high strength and good toughness and also cures through in thick layers. That is why it fills gaps where super glue fails. The disad"},{"t":"Hiding the Z seam: setting the seam position correctly","k":"3D printing · Settings","d":"Why every print has a seam, which seam position suits which part, how to paint the seam and what wipe, scarf seam and pressure advance do.","u":"/en/3d-printing/settings/hiding-the-z-seam/","x":"You will see a vertical line of small dots or bulges running along the whole height of many prints. That is the Z seam. With FDM printing it cannot be prevented completely, but you can control where it sits and how noticeable it is. What is the Z seam? Every outer wall is a closed loop. The printer has to start somewhere and stop at the same point. Small flaws arise at this spot: At the start, pressure in the nozzle has to build up first, so the line is briefly too thin or a small blob comes out. At the end, some material still oozes out, producing a small bump. A tiny gap can remain between the end and the start. Since every layer begins at such a spot, a seam forms along the height. How visible it is depends on the seam position and on calibration. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"From above: each outer wall is a loop that starts and ends at one point\" <text class=\"t\" x=\"16\" y=\"24\" One layer from above</text <path class=\"fil\" stroke width=\"7\" d=\"M178.2 74.4A78 78 0 1 1 161.8 74.4\"/ <path class=\"ink\" stroke width=\"1.8\" d=\"M241.0 142.0L248.0 152.0L255.0 142.0\"/ <circle class=\"bad\" stroke width=\"3\" cx=\"170\" cy=\"74\" r=\"6\"/ <text class=\"s bad t\" x=\"170\" y=\"56\" text anchor=\"middle\" Start and end: small flaw</text <text class=\"s\" x=\"170\" y=\"266\" text anchor=\"middle\" Outer wall as a closed loop</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"From the side: the start points of all layers form a vertical seam\" <text class=\"t\" x=\"16\" y=\"24\" Across all layers</text <rect class=\"plate\" x=\"16\" y=\"246\" width=\"308\" height=\"12\" rx=\"3\"/ <rect class=\"part\" x=\"110\" y=\"70\" width=\"120\" height=\"176\" rx=\"2\"/ <path class=\"layer\" d=\"M110 81H230M110 92H230M110 103H230M110 114H230M110 125H230M110 136H230M110 147H230M110 158H230M110 169H230M110 180H230M110 191H230M110 202H230M110 213H230M110 224H230M110 235H230\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"76\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"87\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"98\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"109\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"120\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"131\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"142\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"153\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"164\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"175\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"186\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"197\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"208\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"219\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"230\" r=\"2.2\"/ <circle class=\"bad\" stroke width=\"2.4\" cx=\"208\" cy=\"241\" r=\"2.2\"/ <text class=\"s bad t\" x=\"170\" y=\"280\" text anchor=\"middle\" vertical seam along the height</text </svg </div <figcaption Schematic illustration. On the left, the outer wall of one layer starts and ends at the same point. On the right, these points lie on top of each other and form the Z seam along the height.</figcaption </figure The seam position options The names differ slightly depending on the slicer. The basic idea is the same everywhere. Option What happens Good for Aligned The seam sits in the same place in every layer, preferably in corners most parts; a straight line is easy to hide Nearest The seam is wherever the nozzle happens to be, preferably in inner corners quick prints where looks do not matter Random A different place in every layer round parts without corners, vases Rear Back The seam is on the back of the part parts with a clear front Aligned back OrcaSlicer Like Aligned, but shifted to the back figures, decorations Aligned The default in many profiles, including Bambu Studio and OrcaSlicer. The seam is placed in a corne"},{"t":"How durable is UV printing? Scratches, sun, water and the dishwasher","k":"UV printing · Business & costing","d":"How long does a UV print last indoors and outdoors, and what can it take? With manufacturer figures, care tips and advice for customers.","u":"/en/uv-printing/business/uv-print-durability/","x":"Once cured, a UV print is dry, touch proof and considerably more robust than an ordinary inkjet print. It is not indestructible, though. How long it lasts depends less on the printer than on the ink, substrate, primer and protective varnish, and on how the finished part is used. Scratch resistance Cured UV ink forms a solid layer on the surface. It does not soak in as it does with paper or textile. This has two consequences: it is quite resistant to normal use, but if adhesion is poor it can flake off as a whole or be scratched off. What determines scratch resistance: Factor Effect Ink type Hard rigid ink is more scratch resistant, flexible ink handles bending better Primer Often decisive for adhesion on glass, metal and smooth plastics Varnish Protects the colour layer from abrasion Curing Incompletely cured ink stays soft and delicate Substrate Greasy or dirty surfaces hold less well eufyMake names missing primer as the most common reason for peeling prints and says that a layer of varnish can double durability. More on this under Primer /uv druck/tinten/primer/ and Varnish /uv druck/tinten/lack/ . A simple test for your products: wait 24 hours after printing, then press a piece of adhesive tape on firmly and pull it off with a jerk. If colour comes off, adhesion is not yet right. Light and weather: indoors and outdoors UV inks are pigmented and fairly lightfast. Outdoors, however, sun, rain, frost and temperature changes act together. Manufacturer figures: Roland DG states that its ECO UV ink lasts up to two years outdoors if a gloss layer is applied as a finish. eufyMake gives 3 to 5 years for indoor prints, 1 to 2 years for unprotected outdoor signs and 2 to 3 years for laminated or protected signs. These are guide values from the respective manufacturer for its inks. Other inks may perform better or worse. Check the data sheet of your ink. South facing positions, high altitude and salty air shorten durability. Behind glass or indoors without direct sun, a UV print lasts considerably longer than outdoors. Water and moisture Cured UV ink is waterproof. Rain or a damp cloth will not harm it. The edges are where it becomes problematic: if water acts for a long time, it can creep under a poorly adhering layer. The print then lifts from the edge. With wood, the material itself also swells and moves. A printed wooden surface should not be left outdoors permanently unless the wood is protected all round. More on this in Printing on wood /uv druck/materialien/holz bedrucken/ . Dishwasher: generally no Printed mugs, drinking bottles or cups are usually not suitable for the dishwasher. Heat, aggressive detergents and the water jet attack the adhesion. eufyMake expressly advises hand washing. The US retailer JPPlus writes in its instructions for UV printed ceramic mugs: wash by hand only with mild washing up liquid, not in the dishwasher. A second question concerns food. JPPlus recommends not letting printed surfaces come into contact with food. For that reason, do not print on surfaces that come into contact with food or drink, for example the drinking rim of a mug, unless the ink used is expressly approved for this purpose. Cleaning Soft cloth, lukewarm water, a little mild washing up liquid No abrasives, scouring pads or steel wool No solvents such as acetone or cellulose thinner. Some inks tolerate isopropanol; this is stated in the data sheet Do not scratch, do not use a pressure washer How to make the print last longer 1. Degrease the substrate thoroughly before printing 2. Use primer where the material needs it 3. Choose the right ink: hard for rigid parts, flexible for bendable parts 4. Make sure curing is complete 5. Print varnish as a protective layer, especially on parts that are handled often 6. For outdoors: choose material, ink and finish for outdoor use What you should tell customers Clear care instructions save you complaints. A short slip of paper or a sentence in the product description is enough: Clean by hand onl"},{"t":"Ironing On Heat Transfer Vinyl: Temperature, Time and Care","k":"Makerspace · Cutting plotters","d":"Cut, mirror and weed HTV correctly, then apply it with a heat press or iron: temperature, time and pressure per Siser and Cricut, surface, peeling and washing.","u":"/en/makerspace/cutting-plotters/ironing-on-heat-transfer-vinyl/","x":"Heat transfer vinyl, also called iron on vinyl, transfer film or HTV, is the simplest way to a shirt design of your own. It consists of a coloured film with heat activated adhesive on a glossy carrier. The plotter cuts only the film, you remove the rest and press the design onto the fabric with heat. 1. Load and mirror correctly Glossy side down: The glossy side is the carrier. It lies at the bottom on the mat when cutting, and the matt side faces the blade. Mirror: Because the film is turned over when applied, the design has to be cut mirrored. In Design Space you select \"Mirror\" in the mat preview, and for iron on materials Cricut also shows a reminder. Siser also writes \"Cut the material mirrored\" in its data sheet. Choose the material in the software: The cut setting for HTV is designed for a thin film. For P.S. Film, the European EasyWeed, Siser gives a 45° blade angle, 60 g cutting pressure and 30 cm/s. If the blade does not cut properly, Plotter does not cut properly /makerspace/plotter/plotter schneidet nicht/ helps. 2. Weeding With a weeding hook you pull off everything that is not part of the design. What remains is the design on the carrier. Siser gives a tip for this: on a warm surface, weeding is quicker and easier. Afterwards, trim the carrier closely around the design. This saves film, and with several colours the carriers do not lie on top of each other. 3. Temperature, time and pressure The values come from the film manufacturer, not from the plotter or the press. Film Temperature Time Pressure Peel carrier Source Siser P.S. Film EasyWeed 150 °C 15 s medium, 2.5 to 3.5 bar hot or cold Siser data sheet 03/2025 Siser EasyWeed US version 150 °C 10 to 15 s medium hot or cold Siser via Stahls Siser StripFlock Pro flock 155 °C 15 s medium, 3 to 4 bar warm Siser data sheet Cricut Iron On depending on film and fabric per guide per guide per guide Cricut Heat Guide Cricut does not publish a fixed table. According to Cricut, time and temperature depend on the fabric and the film; you get the values from the Cricut Heat Guide https://cricut.com/de de/heatguide or the Cricut Heat app. This is how to proceed with a press: 1. Pre press the fabric briefly, which smooths it and drives out moisture. 2. Place the design with the carrier facing up. 3. Cover with protective paper, baking paper or a Teflon sheet. 4. Press with the film's values. 5. Peel the carrier as the film requires: hot, warm or cold. More on presses, pre pressing and peeling is in Using a heat press correctly /makerspace/heisspressen/ . Iron or heat press? Both work, but not equally well. Cricut explains the difference like this: with an iron, the heat comes from the middle, the temperature is uneven across the surface and lower at the edges. A heat press heats evenly right to the edge, and temperature and time can be set precisely. Siser's bar figures assume a press; for the iron, the data sheet gives no values. With the iron, following Cricut: 1. Select the cotton/linen setting, usually the hottest. Steam off. 2. Preheat the spot on the fabric for 10 to 15 seconds. 3. Place the design with the carrier facing up. 4. Press for 25 to 30 seconds with medium pressure. 5. Turn the fabric over and press once more from the back for 25 to 30 seconds. 6. Peel the carrier cold. The right surface: Cricut recommends a firm, level table at hip height with a fluffy, plain cotton towel on it, folded so that it is about 7.5 cm thick. According to Cricut, an ironing board uneven, not stable enough for pressure , corrugated cardboard becomes uneven and silicone baking mats or aluminium foil do not insulate and become dangerously hot are not suitable. If you make shirts regularly, a press is the more reliable solution. You will find presses with data and prices in the device overview /makerspace/geraete/ heisspressen , for example the Cricut EasyPress SE /makerspace/geraete/cricut easypress se 12x10/ as a hand held press or the Cricut AutoPress 2 /makerspace/geraete/cricut aut"},{"t":"Laser Accessories: What You Really Need and What to Look For","k":"Laser · Accessories","d":"Safety glasses, honeycomb bed, air assist, extraction, rotary, fire extinguisher and more: what each accessory is for, when you need it and what to look for.","u":"/en/laser/accessories/laser-accessories/","x":"A laser engraver almost always comes with accessories. Some are mandatory for safety, some are just convenient. For each item, this article explains what it is for, when you need it and what to look for when buying. The overview Accessory Needed? Mainly for Laser safety glasses mandatory with open machines eye protection CO₂ fire extinguisher, fire resistant mat mandatory fire protection Extraction or exhaust filter mandatory smoke and fumes Air assist almost mandatory for cutting clean cuts, fewer flames Honeycomb or slat bed very useful support, clean back side Enclosure for open lasers useful in living spaces smoke, reflections Rotary only for round parts tumblers, bottles, rings Riser only for tall parts build height Camera convenience positioning Spare protective glass, cleaning wear keeping power up Masking tape, transfer tape useful clean surfaces Material holders, magnets useful flat support Laser safety glasses What for: protects your eyes from direct and reflected laser radiation. When needed: with every open machine and every machine without a stated Class 1 rating, for everyone in the room. With an enclosed Class 1 machine in its original state you do not need glasses. As soon as you use a riser without shielding or run the machine with the lid open, Class 4 applies again. What to look for: the glasses must cover the wavelength of your laser: about 450 nm for blue diodes, 1064 nm for fibre and infrared, 10,600 nm for CO₂. Wavelength and protection level should be printed on them, ideally to EN 207, for example \"D 445 LB5\". Glasses with OD 5 or higher are offered for diode lasers. For combination machines the glasses must cover both wavelengths. Side protection is important. More in Laser safety /laser/sicherheit/laser sicherheit/ . Honeycomb bed and slat bed What for: both raise the workpiece so that smoke and beam can escape downwards. This leaves fewer burn marks on the back. When needed: as soon as you cut. For engraving alone, a non combustible plate is often enough. What to look for: the honeycomb bed gives thin and small parts such as paper, fabric, leather or thin wood many points of support and can be used with pins or magnets. With thick sheets, heat is more likely to build up under the honeycomb. The slat bed with blades has less contact area, which spares the back of thick sheets, but holds small parts less well. With diode lasers the honeycomb bed is usually the norm. Check that the size fits the working area, and allow for the height of the bed when focusing. Air assist What for: a pump blows air through a nozzle on the laser head onto the cutting point. This pushes smoke and flames away, protects the lens and makes cuts cleaner. When needed: for cutting, practically always. For engraving, depending on the material. What to look for: pumps of about 10 to 30 l/min are usually offered for diode lasers, while CO₂ machines in the 50 to 100 W range tend to use 30 to 60 l/min. The nozzle has to fit your laser head. Control or software regulation is handy, because less air is often better when engraving. Pay attention to the noise level. Details in Air assist /laser/einstellungen/air assist/ . Extraction and exhaust filter What for: lasering produces smoke with fine dust and, depending on the material, toxic fumes. When needed: always. The only question is how. What to look for: the simplest option is an exhaust hose with a fan leading directly outside, for example through a window adapter. Without a window you need an exhaust filter with pre filter, particle filter and activated carbon. Include the cost of replacement filters, as they are the running expense. With open machines, extraction only really works well together with an enclosure. More in Extraction when lasering /laser/sicherheit/laser absaugung/ . Enclosure for open lasers What for: an enclosure traps smoke so you can extract it, and holds back reflections. When needed: very useful with open machines in living spaces. What to look for: a retrofitt"},{"t":"Laser cutting and engraving leather: real leather, faux leather and safe starting values","k":"Laser · Materials","d":"Laser leather with diode or CO₂: why vegetable-tanned leather is best, when faux leather is off limits, how to reduce odour and what values to start with.","u":"/en/laser/materials/laser-cutting-leather/","x":"Leather can be engraved with almost any laser and, in thin thicknesses, cut as well. The engraving is dark, sharp and tactile, ideal for pendants, patches and wallets. What matters, though, is which leather you have. With some leathers and many faux leathers, toxic gases are produced. Real leather: the tanning counts Raw hide is made durable by tanning. Two processes matter for the laser. Vegetable tanned Chrome tanned Tanning agent Plant tannins from bark, wood, leaves Chromium salts Engraving dark brown, high contrast often grey and pale Smoke Laser smoke like wood, extraction needed Chromium compounds in the smoke Suitability very good, standard for laser engraving not recommended Vegetable tanned leather is the material of choice. It is firm, takes engravings with rich contrast and can also be dyed and embossed afterwards. Specialist dealers often call it undyed leather, saddlery leather or \"vegetable tanned\". Chrome tanned leather is in most clothing, bags and upholstered furniture. Trotec explicitly lists \"leather and faux leather with chromium VI \" among its unsuitable materials. Besides the health questions, the residues settle on the lens and mirrors, and the engraving usually looks disappointing. Leave it out. How do you recognise the tanning? The safest way is the dealer's information. One clue is the cut edge: vegetable tanned leather is usually an even brown at the edge, while chrome tanned is often light grey to bluish. If you are not sure, do not laser it. Faux leather: PU yes, PVC never Faux leather is plastic on a backing fabric. Which plastic it is is the decisive point. PU polyurethane : can be lasered if it is definitely PVC free. More smoke is produced than with real leather, and the edges melt easily. Good extraction is a must. PVC polyvinyl chloride : absolutely off limits. Lasering produces hydrochloric acid gas hydrogen chloride . It attacks your airways and corrodes metal parts, guides and electronics in the laser. The problem: many products are simply called \"faux leather\", \"leather imitation\" or \"vegan leather\" without naming the plastic. Only buy material that clearly states \"PU\" and \"PVC free\", or ask the dealer for the data sheet. Even faux leather with a PU surface can have a backing or adhesive containing PVC. When in doubt: do not laser it. Further critical materials are listed in Materials to avoid /laser/sicherheit/laser tabu materialien/ . Engraving and cutting Leather is more sensitive than wood. Too much energy chars the surface, makes the leather shrink and hardens the edges. Engraving: Low power and high speed are enough. An engraving that only darkens the surface usually looks better than a deep one. For fine detail, a line spacing of 0.1 mm is enough. Cutting: Thin leather up to about 2 mm can be handled by diode lasers too, often in several passes. Thicker saddlery leather is a job for CO₂ or stays with the knife. Covering: Transfer film or masking tape on the surface catches smoke and keeps the area beside the engraving clean. Test beforehand whether the adhesive leaves residue. Fix it flat: Leather curls. With magnets or pins on the honeycomb bed, the focus stays the same everywhere. Air assist: Low to medium airflow prevents flames when cutting without blowing the leather up. Odour Lasered leather smells strongly of burnt horn or hair. The smell hangs in the workshop and stays on the workpiece. Extraction that leads straight outside is therefore not a question of comfort. In a flat without an exhaust you should not laser leather. Which solutions exist is explained in Laser extraction /laser/sicherheit/laser absaugung/ . For the workpiece, it helps to wipe the engraving with a slightly damp cloth after lasering and let the piece air out in the open for one to two days. Leather care applied after airing refreshes the surface and covers residual odour. Starting values The ranges apply to vegetable tanned leather of about 2 mm thickness. They are a rough guide for your first test grid"},{"t":"Laser cutting and engraving wood: species, starting values, fewer burn marks","k":"Laser · Materials","d":"Laser plywood, MDF, solid wood and bamboo with diode or CO₂: which wood suits what, starting values per power class and tips against burn marks.","u":"/en/laser/materials/laser-cutting-wood/","x":"Wood is the material almost everyone starts with. It absorbs the light of diode and CO₂ lasers well, engraves with nice contrast and is inexpensive. Even so, every species behaves differently, and with plywood it is often the glue that decides whether a cut goes through cleanly. Wood species at a glance Wood Engraving Cutting What to watch out for Poplar plywood light, medium contrast easy cheap and soft, glue quality varies widely Birch plywood fine, good contrast needs more power than poplar harder and more dimensionally stable, more glue layers Basswood plywood very even very good manufacturer cutting figures often refer to basswood MDF evenly dark, no grain good, but a lot of smoke fibres bound with synthetic resin, strong extraction needed Solid wood maple, alder, cherry, walnut very attractive depending on species only thin thicknesses with diode resinous softwoods burn unevenly Bamboo dark, high contrast possible usually glued strips, glue joints can become visible Light, even woods such as basswood, maple or alder show engravings most clearly. Dark woods such as walnut give less contrast but look more refined. Engraving and cutting When engraving, the laser travels line by line over the surface and burns the top layer. The wood becomes darker, and with more energy also deeper. When cutting, the laser follows a line at full or nearly full power and low speed until the material is cut through. The differences are explained in the article Engraving, cutting, marking /laser/grundlagen/gravieren schneiden markieren/ . How thick a diode laser cuts depends heavily on its power. A few manufacturer figures from the device overview as a guide: xTool S1 20W /laser/geraete/xtool s1 20w/ : up to 10 mm basswood plywood in a single pass xTool S1 40W /laser/geraete/xtool s1 40w/ : up to 15 mm basswood plywood in a single pass xTool P2S /laser/geraete/xtool p2s/ 55 W CO₂ : plywood up to 12 mm recommended, solid wood up to 18 mm These are best values under ideal conditions. In everyday use with ordinary craft plywood you are better off expecting considerably less. Glue in plywood Plywood consists of thin veneer layers that are glued together. The glue absorbs laser light differently from wood. Where glue collects, the beam gets stuck, and spots appear where the cut does not go through. Cheap construction plywood also often has gaps, knots and filler in the inner layers. That is why there is plywood sold as \"suitable for lasers\". It has even layers and few gaps. For projects where parts have to fit into one another, it is worth it. If a cut only fails in individual places, it is usually down to the material and not the laser. More on this in the article Laser does not cut through /laser/probleme/schneidet nicht durch/ . Grain Wood has light earlywood and darker latewood zones. The denser annual rings burn more slowly than the soft wood between them. On solid wood with strong grain, a solid area engraving therefore becomes streaky. With photo engravings this is particularly noticeable. For photos and fine areas, woods with calm grain are suitable: basswood, maple, alder or good plywood with an even top veneer. Pine and spruce, with their hard annual rings and resin pockets, give uneven results. MDF has no grain at all and engraves very evenly, but more brownish than black. Starting values per power class The following ranges are rough starting values for 3 mm poplar or basswood plywood. They do not come from a single manufacturer table but are a guide for your first test grid. If your manufacturer offers material profiles for your machine, these take priority. Power is given as a percentage of maximum power. Task 10 W diode 20 W diode 40 W diode 40 to 55 W CO₂ Engraving, light 30 to 50 %, 100 to 200 mm/s 25 to 40 %, 200 to 400 mm/s 25 to 40 %, 300 to 500 mm/s 15 to 30 %, 300 to 500 mm/s Engraving, dark 60 to 80 %, 80 to 150 mm/s 50 to 70 %, 150 to 250 mm/s 50 to 70 %, 200 to 300 mm/s 30 to 50 %, 200 to 400 mm/s Cut 3 mm 100 %, 3 to 6 mm/s"},{"t":"Laser cutting paper and fabric: card, felt, denim and cork without fires","k":"Laser · Materials","d":"Laser paper, card, corrugated board, felt, cotton, denim and cork: low power, high speed, fixing properly and keeping the fire risk under control.","u":"/en/laser/materials/laser-cutting-paper-fabric/","x":"Paper, card and fabrics are thin and easily flammable. Even a weak laser cuts through them effortlessly, and that is exactly the trap: with settings for wood, the material catches fire immediately. What counts here is low power, high speed, good fixing and a watchful eye on the machine. Overview Material Engraving Cutting What to watch out for Paper possible, very sensitive very good burns quickly, blows away in an airflow Card, greyboard good good edges turn brown Corrugated board limited good embers in the air channels Wool felt good good smells like hair, edges darken slightly Craft felt made of polyester poor good, edges melt plastic fumes, clarify the fibre beforehand Cotton possible good edges brownish, little fraying Denim good for lightening effects good check stretch content and prints Cork very good, dark good burns and smoulders, mind the binder Paper and card Paper is the most sensitive material in this article. For cuts in copy paper or photo card, a fraction of the power is enough on any diode laser. Fine paper cuts, greetings cards and patterns for stencils are typical projects. To get a clean result: Low power, high speed: Two fast passes are better than one slow one. Slow speed burns the edges and burns through small tabs. Fixing: Paper curls from the heat and is lifted by the airflow. Magnets or pins on the honeycomb bed hold it flat. Without fixing, the sheet shifts in the middle of the job. Low air assist: A weak airflow prevents flames. Full air blows the paper away or makes small parts fly around. Focus: Paper is thin, so the focus has to sit exactly on the surface. A spacer included in the box helps. Card and greyboard behave similarly but need more energy. The cut edges almost always turn brown. For architectural models and packaging prototypes this is usually not a problem. Corrugated board has air channels between the outer layers. Sparks can lodge there and keep smouldering without you seeing anything on the outside. After the job, therefore, check the parts and do not throw them straight into a box with other offcuts. Felt and fabrics With fabrics, the fibre decides. Natural fibres such as wool, cotton and linen char easily at the edge. The cut is clean and hardly frays. Synthetic fibres such as polyester melt at the edge. This seals the cut edge, but it is hard and can feel scratchy. The fumes are plastic fumes and need good extraction. Coated fabrics such as oilcloth, tarpaulins or fabrics with a plastic print are critical. Many of them contain PVC. That does not belong in the laser. Craft felt from the craft shop usually consists of polyester or acrylic fibres. Real wool felt is more expensive, smells like burnt hair when lasered and gives nicer edges. Denim is a special case. With low power and high speed, the laser lightens the indigo dye without cutting through the fabric. This is how patterns and lettering on pockets and jackets are made. Stretch denim often contains elastane, which reacts differently from cotton. Test on a hidden spot or on an offcut. Avoid prints and coatings. Lay fabrics out taut and free of creases. Waves change the focus, and loose corners flutter into the beam in the airflow. Cork Cork engraves very nicely, dark and even. Coasters, pinboards and notebook covers made of cork are popular projects. Cork does burn well, though, and keeps smouldering. Pressed boards made of cork granules contain binders. If in doubt, ask which one, and do without boards with an unknown coating. Starting values The values are a rough guide for a first test grid. Paper and fabric already react strongly to small changes, so start at the lower end. Task 5 to 10 W diode 20 W diode 40 W diode 40 to 55 W CO₂ Paper 80 to 160 g/m², cutting 20 to 40 %, 100 to 200 mm/s 10 to 25 %, 200 to 400 mm/s 5 to 15 %, 300 to 500 mm/s 8 to 15 %, 200 to 400 mm/s Card 1 mm, cutting 60 to 100 %, 20 to 50 mm/s 50 to 80 %, 50 to 100 mm/s 30 to 60 %, 100 to 200 mm/s 20 to 40 %, 50 to 150 mm/s Felt 3 mm, cutting 80 to 10"},{"t":"Laser engraving glass, stone and slate: no cracks, no frustration","k":"Laser · Materials","d":"Frosting glass, engraving slate and granite, marking tiles and mirrors: what works with CO₂ and diode lasers, and tricks to prevent cracks and faint engravings.","u":"/en/laser/materials/laser-engraving-glass-stone-slate/","x":"Glass, stone and ceramic cannot be cut, but they engrave very nicely. The laser melts or blasts off tiny parts of the surface, producing a matt, light contrast. Whether this works depends heavily on the laser type: what almost always works with CO₂ often needs a trick with a diode laser. Overview Material CO₂ Diode Result Clear glass good only with a coating matt, milky white Dark or coloured glass good partly, test it matt Mirror back good good mirror layer is removed Slate very good very good light grey on dark Granite, dark polished good good light on dark Granite, light limited limited little contrast Marble good possible light, depending on the stone Tiles, glazed good depends on colour, often with a coating glaze becomes matt or is removed Glass With a CO₂ laser: glass absorbs the 10,600 nm wavelength well. The surface heats up abruptly and tiny splinters flake off. This gives the typical frosted look, like sandblasting. Deep engravings are not the aim; the effect comes purely from the rough surface. The main problem is heat. Too much energy in one spot leads to cracks, chipping and a coarse grained engraving. In its glass tips, Epilog recommends two simple aids: Damp paper: lay a dampened piece of newspaper or kitchen paper flat on the engraving area. It cools and spreads the heat, and the engraving becomes more even. Washing up liquid: a thin layer of ordinary washing up liquid keeps the surface moist. On longer jobs it dries out and has to be renewed. A few further rules: keep the power rather low, choose a suitable resolution rather than the maximum, and engrave filled motifs with a raster pattern dithering rather than a full fill. It is also important to get the setting right on the first attempt. According to Epilog, repeating a job on glass several times produces an increasingly blurred engraving. So test on an offcut of the same glass. With a diode laser: clear glass lets the blue light at around 450 nm pass almost completely. Without help, nothing happens. The usual approach is a dark coating: black tempera paint, a thin matt spray paint or a laser marking spray. The layer absorbs the energy, heats the glass surface and creates fine cracks there. Afterwards you wash the paint off. The result is usually weaker and less even than with CO₂, but usable for one offs. Dark and coloured glass sometimes works without a coating too; you have to test that. For round glasses and bottles you need a rotary attachment. For internal engravings in crystal glass there are dedicated UV laser machines, such as the xTool F2 Ultra UV /laser/geraete/xtool f2 ultra uv/ . Mirrors With mirrors you engrave the back. There, a protective paint layer sits over the mirror layer. The laser removes the paint and the mirror layer, and from the front you see the motif through the glass. Mirror the motif beforehand, otherwise lettering is reversed. Start with low power and work up, because the layer thickness differs depending on the manufacturer. This works well with both diode and CO₂, because the dark paint on the back absorbs the light. The front of a mirror, by contrast, is unsuitable for diode lasers. Slate Slate is one of the most rewarding materials of all. The laser lightens the dark surface, producing a light grey, very legible contrast. This takes little energy. As a reference for a 100 W CO₂ laser, Trotec gives only 20 % power at full speed and 500 dpi. Natural slate is uneven and splits into layers. Dust the surface before lasering and set the focus to the middle height. After engraving, wipe off the dust. A few drops of cooking oil on the surface darken the slate again and increase the contrast. Coasters and signs made of slate are available as ready made blanks. Granite and marble Dark, polished granite gives light, fine engravings. According to Trotec, light granite engraves only to a limited extent. For more contrast, fill the engraving with acrylic paint after lasering and wipe off the excess. Marble also engraves light. For thi"},{"t":"Laser engraving metal: what diode, fibre and MOPA lasers can really do","k":"Laser · Materials","d":"Marking metal with a laser: anodised aluminium and stainless steel with a diode, fibre and IR lasers for true metal engraving, colour with MOPA and why cutting is for professionals.","u":"/en/laser/materials/laser-engraving-metal/","x":"Metal is the material where expectations differ the most. A diode laser can label many metal parts, but can hardly engrave bare metal directly. Fibre and infrared lasers exist for that. And cutting metal is a different league altogether. Why bare metal is difficult Whether a laser works depends on whether the material absorbs its wavelength. Bare metal reflects a large part of the light and conducts heat away quickly. Laser type Wavelength On bare metal Diode 450 to 455 nm only a weak mark, usually with an aid CO₂ 10,600 nm strongly reflected, no mark without a coating Fibre and infrared 1,064 nm absorbed well, marks and engraves directly That is why, with a diode or CO₂ laser, you mainly work on coatings on the metal. With fibre or infrared, you work on the metal itself. An overview of all laser types is given in Laser types compared /laser/grundlagen/lasertypen/ . What a diode laser can do Anodised aluminium: The anodised layer is dyed. The laser removes the colour, and a light, silvery white mark appears underneath. This works well with a diode, especially on dark colours such as black, dark blue or red. Typical uses are aluminium business cards, torches and knife handles. Painted and powder coated metal: The laser burns away the coating and the bare metal underneath comes to light. Powder coated mugs and bottles are a classic. Know your coating: some paints contain substances that are hazardous when burned. Stainless steel with marking spray: A special laser marking spray is sprayed on thinly. The laser fuses the layer to the surface, producing a black, high contrast mark. The rest is washed off after lasering. This works with diode and CO₂. It is not engraving but an application onto the metal. Stainless steel directly: According to manufacturers, stronger diodes can produce a dark annealing mark directly on stainless steel, at slow speed and often with several passes. Results vary greatly depending on the alloy and surface. Test this before promising it to customers. Cutting thin foil: Some diode lasers cut very thin stainless steel sheet. With the xTool S1 40W /laser/geraete/xtool s1 40w/ , the manufacturer states up to 0.1 mm, with the 20 W version 0.04 mm. That is foil, not sheet metal. Good to know: many diode lasers offer an optional infrared module with 1,064 nm and 1.2 to 3 W. With it you mark bare metal directly, but much more slowly and shallower than with a fibre laser. Fibre and infrared lasers for metal marking A fibre laser produces light at 1,064 nm in a glass fibre doped with ytterbium. Metals absorb this wavelength well. Fibre lasers almost always work as galvo machines: mirrors steer the beam very quickly, and the work area is small as a result. What a fibre laser can do on metal: Marking: The surface is darkened by annealing or lightened by roughening, without removing any significant material. Ideal for serial numbers, logos, QR codes. Deep engraving: With many passes it removes metal. This works on stainless steel, brass, aluminium, silver and gold. Anodising and coatings: cleaner and faster than with a diode. Examples from the machine overview /laser/geraete/ are the ComMarker B4 20W /laser/geraete/commarker b4 20w/ as a pure fibre laser and combination machines such as the xTool F series, which combine fibre and diode. More on designs is in Gantry or galvo /laser/grundlagen/portal oder galvo/ . Colour on stainless steel with MOPA A MOPA fibre laser lets you adjust the pulse duration. According to the marking specialist Pryor, it is fixed at about 100 to 120 ns on standard fibre lasers Q switch , while with MOPA sources it can be chosen from roughly 4 to 200 ns. Higher pulse frequencies come on top of that. This control allows colour marking on stainless steel. The laser heats the surface in a targeted way, and a thin, transparent oxide layer forms. Light is reflected at the top of this layer and at the metal beneath it, and the two portions overlap. Depending on the layer thickness, you see gold, br"},{"t":"Laser engraving photos: material, image preparation and dithering","k":"Laser · Software & files","d":"Photo engraving step by step: suitable materials, image preparation, line interval, which dithering to use when, and why slate needs an inverted image.","u":"/en/laser/software/laser-photo-engraving/","x":"A photo on wood or slate is one of the most popular laser projects and one of the most temperamental. At any given spot the laser can only burn or not burn. To still get shades of grey, the software has to convert the image. This guide shows what matters: material, image preparation, line interval, image mode and a test grid. Which material works A photo needs an even surface with good contrast. Anything that brings its own texture or colour differences competes with the image. Material Suitability What to watch out for Maple, lime linden , alder very good light and calmly grained, engraving turns dark Birch plywood with a good face veneer good check for glue pockets and grain Pine, spruce poor hard growth rings make the image streaky Slate very good engraving turns light, invert the image Anodised aluminium, dark very good engraving turns light, fine line interval possible Leather, vegetable tanned, light good engraving turns dark, only use safe leather Coated tiles possible separate technique, only with a test tile Glass rather not only frosts, fine grey tones are lost With wood, the grain decides. Dense latewood rings burn differently from the soft wood between them, and you see that in faces immediately. More on this in Laser cutting and engraving wood /laser/materialien/holz lasern/ . For leather: chrome tanned leather and many synthetic leathers do not belong in the laser, see Laser engraving leather /laser/materialien/leder lasern/ . Tiles are usually coated for photos. With the so called Norton White Tile method, you spray a paint containing titanium dioxide onto a white tile, the laser melts it dark into the glaze wherever it hits, and you wash off the rest. The OMTech description refers to CO₂ lasers with a fine focus. Only a test will show whether it works with your machine. Glass is the most difficult choice for photos. A CO₂ laser frosts the surface, and a diode laser needs a coating on clear glass. Fine gradations in skin tones are rarely preserved. Details are in Laser engraving glass, stone and slate /laser/materialien/glas stein schiefer lasern/ . Preparing the image A photo that looks good on screen almost always turns out too dark on wood. Wood has its own base tone, and burned dots run into each other slightly. So edit the image beforehand, in an image editor or directly in the laser software. 1. Crop: Crop tightly around the subject. A face should fill a large part of the area; small faces in a group lose every detail at 10 cm width. 2. Check the resolution: xTool recommends at least 1,000 × 1,000 pixels. A blurry phone photo does not get better through the laser. 3. Background: Remove busy backgrounds or lighten them heavily. This draws the eye to the subject and saves laser time. 4. Greyscale: Convert the image to greyscale, the laser cannot do colour. 5. Brightness and contrast: Lighten the midtones noticeably and raise the contrast. The darkest shadows should not be pure black, otherwise all detail disappears there. 6. Sharpen: Sharpen slightly, for example with Unsharp Mask. This keeps edges such as eyes and hair visible after engraving. LightBurn has the \"Adjust Image\" tool for this, with brightness, contrast and gamma, and xTool Studio offers similar sliders for the image. General information on file formats is in Preparing laser files /laser/software/laser dateien vorbereiten/ . Line interval, DPI and dot size The laser scans the image line by line. The line interval sets how far apart the lines are. According to the LightBurn documentation, DPI = 25.4 divided by the line interval in mm. Line interval DPI Lines per cm xTool 0.2 mm 127 50 0.1 mm 254 100 0.08 mm 318 125 0.05 mm 508 200 The right value depends on the size of your laser dot. According to LightBurn, the ideal is an interval at which the lines just touch, with no gaps and no overlap. If they overlap, the image becomes too dark. If gaps remain, it looks pale and streaky. An example: Ortur gives a dot of 0.08 × 0.08 mm for the Laser Master"},{"t":"Laser fume extraction: smoke outside or through a filter","k":"Laser · Safety","d":"Plan laser fume extraction properly: laser smoke contains fine dust and gases. When venting outside is enough, when you need a filter, and how to connect hose and enclosure.","u":"/en/laser/safety/laser-fume-extraction/","x":"When you laser, material vaporises and burns. What is produced is not a harmless smell of wood but a mixture of fine dust, aerosols and gases. This guide shows how to reliably get the smoke out of the room, whether you use an open or an enclosed machine. What is in laser smoke The smoke consists roughly of three components: Fine dust and nanoparticles. They are so small that they reach deep into the lungs. The smallest particles in particular are considered especially problematic. Gases and vapours. Depending on the material, for example carbon monoxide, formaldehyde from MDF binders or solvent residues from varnishes. Unsuitable plastics also produce corrosive or toxic gases. Which materials you should therefore not laser is covered under Prohibited materials /laser/sicherheit/laser tabu materialien/ . Resin and tar. Sticky deposits that settle on the lens, guides and in the hose. Wood is not harmless either. Wood smoke and wood dust irritate the airways, and MDF and plywood also contain adhesives. So this applies: every laser job needs extraction, not just plastic. Two ways: outside or filtered Venting outside Filter unit air purifier Principle a fan blows the smoke through a hose to the outdoors smoke is drawn through several filters, clean air stays in the room Effect very good, gases and particles leave the room good, as long as the filters are fresh Cost inline fan about €140, plus hose and adapter units about €180 to €640 plus replacement filters Running costs low regular filter changes Drawback needs a window or a hole through the wall, cold air flows in activated carbon saturates, gases then break through Suitable for workshop, cellar, garage with a window rooms without access to the outside The prices come from manufacturers' shops as of 10/2026, rounded . An example of an inline fan is the Creality EF1 for around €140. Creality air purifiers cost between around €180 desktop unit and €640 AP1 , and xTool's desktop air purifier costs about €410. If you have the choice, venting outside is the better solution. It also removes gases completely, which a filter can only bind to a limited extent. Understanding filters correctly A usable laser filter works in three stages: 1. Pre filter catches coarse particles, for xTool from 5 µm according to the manufacturer. It protects the expensive HEPA filter from clogging quickly. 2. HEPA filter class H13 or higher takes out the fine dust. According to the manufacturer, H13 retains 99.97 percent of particles from 0.3 µm. 3. Activated carbon binds gases and odours. A unit with only activated carbon or only a simple fleece is not enough. The activated carbon is saturated at some point. At the latest when you smell the laser again, a change is due, often sooner. Stick to the manufacturer's replacement intervals and include the filter costs in the total cost. Enclosure for open machines An open diode laser such as the Creality Falcon2 22W /laser/geraete/creality falcon2 22w/ has no extraction of its own. The smoke spreads directly into the room. For extraction to work, you need an enclosure that collects the smoke. Folding enclosures made of coated fabric are cheap, some cost under €100. They usually have a viewing window and an exhaust port. Rigid enclosures made of metal or panels are sturdier and tighter, but more expensive. The viewing window must be suitable for the wavelength of your laser. An enclosure does not automatically make an open machine laser class 1. More on this under Laser safety /laser/sicherheit/laser sicherheit/ . Leave a small air inlet free at the bottom. A completely sealed enclosure with a strong fan otherwise hardly draws in any replacement air. Enclosed machines such as the xTool S1 20W /laser/geraete/xtool s1 20w/ or the xTool P2S /laser/geraete/xtool p2s/ have a built in exhaust fan and a connection for the hose. With them you only have to decide where the hose leads. Step by step: venting outside 1. Check the hose diameter. 3 to 4 inches is usual, so roughl"},{"t":"Laser in a flat: what is possible and what to watch out for","k":"Laser · Safety","d":"Class 1 or 4, exhaust through the window or a filter, fire safety, noise, tenancy law and insurance: what to clarify before a laser engraver enters your flat.","u":"/en/laser/safety/laser-engraver-at-home/","x":"Many people do not start lasering in a workshop but in the study, the cellar or the guest room. That is possible, but not with every machine and not without preparation. This article shows which points you should clarify before buying: radiation, smoke, fire, noise, tenancy agreement and insurance. Laser class 1 or 4: the most important difference The laser class tells you how dangerous the radiation is that can escape from the machine. For engravers, only two classes are practically relevant. The details are under Laser safety /laser/sicherheit/laser sicherheit/ . Class 1 Class 4 Design closed enclosure with protective window and lid cut off open frame or enclosure without Class 1 certification Safety glasses not needed mandatory for everyone in the room Reflections stay inside the enclosure even diffuse reflections are dangerous Suitability for a flat good if exhaust and fire safety are right only in a lockable room where nobody stays without glasses during operation For living spaces this means: a Class 4 machine turns the room into a laser area while it is running. A Class 1 machine largely removes the radiation risk, but smoke and fire risk stay the same. Class 1 only applies to the machine in its original state. If you add a riser without shielding or bypass the lid switch, you have a Class 4 machine again. For the xTool S1 /laser/geraete/xtool s1 20w/ , the manufacturer explicitly points out that Class 1 no longer applies with the Class 4 riser base. Smoke and smell: the real problem in a flat Laser smoke contains fine dust, ultrafine particles and, depending on the material, gases such as formaldehyde. The DGUV's Institute for Occupational Safety and Health IFA pointed out as early as 2014 that very fine dusts are formed to a greater extent during laser processing. What is in the smoke and which materials are off limits is covered under Fume extraction /laser/sicherheit/laser absaugung/ and Prohibited materials /laser/sicherheit/laser tabu materialien/ . In a flat there are two options: Exhaust through the window Air purifier with filter Effect on gases gases leave the room completely activated carbon only binds gases until it is saturated Smell barely in the room, but outside at the outlet low in the room as long as the filters are fresh Effort window adapter, hose, possibly inline fan unit plus replacement filters at regular intervals Drawback window stays open or tilted, cold air and draughts in winter ongoing filter costs, limits with some plastics Exhaust through the window Manufacturers such as xTool intend for the end of the exhaust hose to be led out of the window or to a smoke filter. For tilted windows there are covers with a connector, similar to those for portable air conditioners. Keep the hose short. Every metre and every bend costs suction power. As a guide: xTool's IF2 inline fan is supplied with a 2.3 m hose. If the laser is far from the window, you need an additional fan. Allow for the cold. In winter, cold air flows in through the open window. Trotec recommends a room temperature of 15 to 25 °C and a relative humidity of 40 to 70 % for laser machines. Conditions that are too cold can lead to condensation. Check the outlet. The smoke must not drift directly in front of your neighbours' window or onto their balcony. Backdraught damper. It stops wind and cold from pushing in when the fan is off. Air purifier with filter A laser filter usually works in three stages: pre filter, HEPA filter for particles, activated carbon for gases. This is practical if there is no window within reach. You should know the limits: Activated carbon becomes saturated at some point. If you can smell the laser again, the filter is overdue. For occupational safety in businesses, the DGUV has classed returning filtered air to the room as impermissible when laser marking plastics such as ABS, POM or PE, because the formation of carcinogenic substances could not be ruled out DGUV Information 213 729, since withdrawn . For a flat, "},{"t":"Laser material test: test grids for the right settings","k":"Laser · Settings","d":"Test grids for power, speed, line interval, cutting and focus: how to set up material tests in LightBurn and xTool Studio and how to document them.","u":"/en/laser/settings/laser-material-test/","x":"Tables with starting values help you get going, but you can only find the values for your machine and your material with a test. A material test is a small grid in which every cell is lasered with different settings. Afterwards you see at a glance which combination fits, and you do not have to guess anew for every project. Why the test is worth it Percentage values cannot be transferred between machines. 40 % on a 10 W diode laser is something different from 40 % on a 40 W diode laser or a CO₂ machine with 40 to 55 W. Then there are differences in the material: plywood from two batches can react completely differently, because glue, moisture and wood species vary. A dirty lens or a slightly shifted focus also changes the result. A test costs a few minutes and an offcut. So the rule is: new material, new batch or new machine means a new test. The four types of test Test What is varied What for Power x speed power in columns, speed in rows basic values for engraving and cutting Line interval spacing of the engraving lines even areas, images Cut test speed and passes lowest energy that reliably cuts through Focus ramp distance between laser and material sharpest point, thinnest line Start with the grid of power and speed. The other tests build on it. Grid of power and speed The basic principle: on one axis the power rises, on the other the speed. Each cell is a small filled square, usually 5 to 10 mm in size. The values are written at the edge as labels. Sensible ranges to start with on a diode laser when engraving wood: Power: 10 to 100 %, in 5 to 10 steps Speed: depending on the machine about 50 to 400 mm/s, in 5 to 10 steps Line interval: fixed at 0.1 mm These values are only a frame. Take the manufacturer's values for your material as the middle and set the range around them. Pay attention to the unit: many GRBL machines work in mm/min, others in mm/s. The LightBurn documentation explicitly warns that a mixed up unit can lead to movements that are far too slow and thus to fires. Material test in LightBurn LightBurn comes with its own generator. You find it under Laser Tools Material Test . 1. Insert the material and set the focus. 2. Open the Material Test Generator. According to the documentation, it starts with a grid of 10 x 10 cells. 3. For each axis, choose under Param the value that should change: power, speed, line interval or passes. With fibre lasers, frequency and pulse width are also possible. 4. Enter minimum, maximum and Count for each axis, that is the number of cells. 5. Set the mode: Fill for engraving tests, Line for cutting tests. 6. Leave the labelling on via Enable Text . The text gets its own values so that it stays legible without destroying the material. 7. With Frame you check whether the grid fits on the offcut. Then start. For the line interval there is the Interval Test under Laser Tools. It engraves squares with different spacings. The documentation suggests 0.08 to 0.16 mm as the range. The best cell is the one in which the lines just touch without overlapping. Optionally, the test fills the squares in a single colour or with a gradient, which is often easier to judge. The Focus Test also exists, but it needs a motorised Z axis that LightBurn can control. Most open diode lasers do not have that. In that case the ramp further below helps. Material test in xTool Studio In xTool Studio, the function is called Material Test Array . 1. Connect the machine so that the test is matched to the right model. 2. Create an element, for example a square, and set the processing type and parameters. The grid adopts these values as a starting point. 3. Select the element, open Applications in the left hand bar and choose Material Test Array . 4. Enter power for the columns minimum, maximum, count, spacing and speed for the rows. 5. Generate it with Done . The grid is grouped. If you want to change individual cells, ungroup it. xTool points out that with very small grids you should check the labels because they can"},{"t":"Laser not cutting through: finding and fixing the causes","k":"Laser · Troubleshooting","d":"The cut stops short and parts will not come out? Check focus, lens, power, material and support surface in turn.","u":"/en/laser/troubleshooting/laser-not-cutting-through/","x":"The laser traces the contour, but the part is still stuck. In some places it falls out, in others it does not. This is one of the most common laser problems, and usually it is not a question of power but of focus, cleanliness or material. Check first: is the expectation realistic? Manufacturers' cutting power figures are best values under ideal conditions. Some examples from the machine database: Machine Manufacturer's figure in a single pass xTool M2 /laser/geraete/xtool m2/ , 10 W diode lime wood up to 8 mm xTool S1 20W /laser/geraete/xtool s1 20w/ , 20 W diode lime plywood up to 10 mm Creality Falcon2 22W /laser/geraete/creality falcon2 22w/ , 22 W diode product page up to 15 mm wood, manufacturer blog 10 mm lime wood Even one manufacturer's figures partly contradict each other. In an independent test, another 20 W diode laser did not manage the promised 10 mm of lime wood in a single pass. In everyday use, expect less, especially with plywood containing glue layers, hardwood or MDF. If your material is at the upper end of the stated figure, several passes are normal. Diode lasers also do not cut clear or light transmitting acrylic. The blue light simply passes through. For that you need a CO₂ laser. More on this under Laser cutting acrylic /laser/materialien/acryl lasern/ . Cause 1: Focus Focus is the most common cause. If the focal point is too high or too low, the energy is spread over a larger area. The laser then engraves rather than cuts. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Focal point too high: the beam is already wide at the surface, the cut ends at half depth\" <text class=\"t\" x=\"16\" y=\"26\" Focal point too high</text <rect class=\"tool\" x=\"148\" y=\"40\" width=\"44\" height=\"34\" rx=\"3\"/ <path class=\"tool\" d=\"M152 74H188L184 82H156Z\"/ <path class=\"fil\" stroke width=\"2\" d=\"M156 82L185 142M184 82L155 142\"/ <path class=\"part\" d=\"M40 140H155L170 182L185 140H300V210H40Z\"/ <rect class=\"plate\" x=\"16\" y=\"210\" width=\"308\" height=\"12\" rx=\"3\"/ <text class=\"s\" x=\"196\" y=\"115\" Focal point</text <text class=\"s bad t\" x=\"170\" y=\"256\" text anchor=\"middle\" Spot too wide, cut gets stuck</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Focal point in the middle of the material: the beam stays narrow at top and bottom, the cut goes through\" <text class=\"t\" x=\"16\" y=\"26\" Focal point in the middle</text <rect class=\"tool\" x=\"148\" y=\"40\" width=\"44\" height=\"34\" rx=\"3\"/ <path class=\"tool\" d=\"M152 74H188L184 82H156Z\"/ <rect class=\"part\" x=\"40\" y=\"140\" width=\"124\" height=\"70\" rx=\"2\"/ <rect class=\"part\" x=\"176\" y=\"140\" width=\"124\" height=\"70\" rx=\"2\"/ <path class=\"fil\" stroke width=\"2\" d=\"M156 82L175.3 210M184 82L164.7 210\"/ <rect class=\"plate\" x=\"16\" y=\"210\" width=\"308\" height=\"12\" rx=\"3\"/ <text class=\"s good t\" x=\"170\" y=\"256\" text anchor=\"middle\" Cut goes through</text </svg </div <figcaption Schematic cross section through a thick board. On the left the focal point is above the material, the beam is already wide at the surface and the cut ends at half depth. On the right the focal point is in the middle of the material, and the cut goes through.</figcaption </figure Reset the focus distance every time you change material. With a focus gauge, autofocus or a focus test. Enter the material thickness correctly in the software if your machine uses it to calculate the focus. Thick material: With several passes, it helps to lower the focus slightly for each pass. In LightBurn the function is called \"Z step per pass\", in xTool Studio \"Focus descent\". It needs a motorised Z axis. How to set it up is explained in Lowering the focus per pass /laser/einstellungen/fokus absenken/ . Lens and laser head secure? A loose module shifts the focus during the job. In detail in the article Laser focus /laser/einstellungen/laser fokus/ . Cause 2: Dirty lens Smoke and resin settle on the protective lens or lens of the laser module over time. Part of the power is then no longer transmitted but heats the"},{"t":"Laser safety: laser classes, safety glasses and fire protection","k":"Laser · Safety","d":"Class 1 or Class 4, which safety glasses you need, why reflections are dangerous and how to prevent fires when laser engraving.","u":"/en/laser/safety/laser-safety/","x":"A laser engraver concentrates enough energy to vaporise wood. That same energy can damage your eye in a fraction of a second and can start a fire. This article explains what the laser class says about your machine, which safety glasses are suitable and how to prevent fires. Laser classes according to DIN EN 60825 1 The standard DIN EN 60825 1 sorts laser devices into classes by how dangerous they are. For engravers, only two classes are relevant in practice: Class 1 and Class 4. Class Meaning Safety glasses 1 Accessible radiation is harmless, even if a powerful laser operates inside not needed 2 visible laser, eye protected by the blink reflex not needed 3R limits of Class 1 and 2 exceeded by no more than five times recommended 3B looking into the beam is dangerous, continuous wave up to 500 mW required 4 over 500 mW continuous wave, even diffuse reflections are dangerous, fire and skin hazard required A diode laser with 10 W, 20 W or 40 W of optical power is far above the limit of 500 mW. Every open machine with such a source is therefore Class 4, which means practically every open diode laser, for example the Acmer P2 33W /laser/geraete/acmer p2 33w/ . Class 1 does not mean that the machine contains a weak laser. It means that the housing reliably shields the radiation. Enclosed machines such as the xTool S1 20W /laser/geraete/xtool s1 20w/ or the Creality Falcon2 Pro 22W /laser/geraete/creality falcon2 pro 22w/ reach Class 1 through a tinted viewing window and a lid interlock. There are two caveats you should know about: Class 1 only applies in the original condition. If you fit a riser underneath the machine without shielding, bypass the lid switch or replace the viewing window, it is a Class 4 device again. With the S1, xTool explicitly points out that Class 1 no longer applies with the Class 4 riser base. The classification has to come from the manufacturer. For some enclosed machines the manufacturer does not state a class. In that case, assume Class 4. Safety glasses: wavelength and optical density With any Class 4 machine you wear laser safety glasses, and so does everyone else in the room. Sunglasses or tinted workshop glasses do not protect you. Two values are decisive: Wavelength. The glasses must cover exactly the wavelength of your laser. Blue diode lasers usually work at around 450 nm often stated as 445 nm or 455 nm , infrared and fibre lasers at 1064 nm, CO₂ lasers at 10,600 nm. Glasses for 1064 nm do not protect against a blue diode laser, and vice versa. For combination machines with a diode and an infrared module, you need glasses that cover both ranges. Optical density OD . The OD tells you how strongly the filter attenuates the light. Each step means a factor of 10: OD 5 still lets through one hundred thousandth, OD 6 one millionth. For hobby diode lasers, glasses with OD 5 or higher at the matching wavelength are available. In Europe, the standard EN 207 applies to laser safety glasses. Certified glasses carry a marking such as \"D 445 LB5\": D for continuous wave, the wavelength in nm, and the protection level LB. LB5 corresponds to a transmission of no more than 0.001 per cent, so roughly OD 5, and also takes into account how long the filter withstands a direct hit. Glasses to EN 208 are alignment glasses and are not suitable for engravers. When buying, look for: wavelength and protection level printed directly on the frame or lens the standard EN 207 stated, not just \"OD 6+\" without a wavelength side protection, so that no reflections reach the eye from the side the greenish glasses supplied with many open machines: only use them if the marking matches the machine Reflections With Class 4, it is not only the direct beam that is dangerous. Mirrored reflections and even diffusely scattered light can also damage the eye. The beam does not have to hit your eye directly. Reflective surfaces are particularly critical: bare metals such as aluminium, brass or stainless steel glass, mirrors and glossy tiles tool"},{"t":"Laser settings by material: starting values at a glance","k":"Laser · Materials","d":"Starting values for wood, leather, acrylic, slate, glass, paper and metal with diode, CO₂ and fibre lasers: wiki ranges, manufacturer tables, and why to test.","u":"/en/laser/materials/laser-settings-by-material/","x":"What power, what speed, how many passes? This page collects the starting values from the material articles in the wiki and sets them beside published manufacturer tables. It is a reference for the first attempt, not a substitute for your own test. Important first: All values here are starting points. They depend on the machine, the actual laser power, the optics, focus, air assist and even the batch of material. Percentage values cannot be transferred between machines. Before every new material, laser a test grid as described in Material test /laser/einstellungen/materialtest/ . How to read the tables Power is given as a percentage of your machine's maximum power. Speed is given in mm/s. Where a manufacturer states mm/min, the converted value is shown alongside 60 mm/min = 1 mm/s . Check which unit your software uses, otherwise you can easily be out by a factor of 60. More on this in Laser parameters /laser/einstellungen/laser parameter/ . Passes are given when there is more than one or the source states them explicitly. Engraving means area engraving with a line interval of around 0.1 mm, cutting means contour cutting with air assist and the focus on the surface. Starting values from the wiki articles The following ranges appear in the respective material articles. They do not come from a single manufacturer table but are meant as a framework for the first test grid. You will find details, notes on the material and safety in the linked article. Wood, leather and acrylic Material and task 10 W diode 20 W diode 40 W diode 40 to 55 W CO₂ Wood /laser/materialien/holz lasern/ 3 mm, light engraving 30 to 50 %, 100 to 200 mm/s 25 to 40 %, 200 to 400 mm/s 25 to 40 %, 300 to 500 mm/s 15 to 30 %, 300 to 500 mm/s Wood /laser/materialien/holz lasern/ 3 mm, dark engraving 60 to 80 %, 80 to 150 mm/s 50 to 70 %, 150 to 250 mm/s 50 to 70 %, 200 to 300 mm/s 30 to 50 %, 200 to 400 mm/s Plywood /laser/materialien/holz lasern/ 3 mm, cutting 100 %, 3 to 6 mm/s, 1 to 2 passes 100 %, 6 to 12 mm/s 90 to 100 %, 15 to 25 mm/s 60 to 80 %, 15 to 25 mm/s Natural leather /laser/materialien/leder lasern/ around 2 mm, engraving 15 to 30 %, 150 to 300 mm/s 15 to 30 %, 250 to 400 mm/s 10 to 25 %, 300 to 500 mm/s 10 to 25 %, 300 to 500 mm/s Natural leather /laser/materialien/leder lasern/ 2 mm, cutting 100 %, 3 to 6 mm/s, 2 to 3 passes 100 %, 5 to 10 mm/s, 1 to 2 passes 80 to 100 %, 10 to 20 mm/s 40 to 60 %, 15 to 25 mm/s Acrylic /laser/materialien/acryl lasern/ 3 mm, engraving black only: 30 to 50 %, 100 to 200 mm/s black only: 30 to 50 %, 200 to 400 mm/s black only: 40 to 60 %, 300 to 500 mm/s all colours: 15 to 35 %, 300 to 500 mm/s Acrylic /laser/materialien/acryl lasern/ 3 mm, cutting black only: 100 %, 2 to 4 mm/s, 2 passes black only: 100 %, 4 to 8 mm/s, 1 to 2 passes black only: 90 to 100 %, 10 to 25 mm/s, 1 to 2 passes all colours: 60 to 85 %, 10 to 25 mm/s Blue diode lasers do not cut clear or blue acrylic, because the light passes straight through. Leather here means vegetable tanned natural leather; synthetic leather containing PVC does not belong under the laser, see Prohibited materials /laser/sicherheit/laser tabu materialien/ . Stone and glass Material and task 10 to 20 W diode 40 W diode 40 to 55 W CO₂ Slate /laser/materialien/glas stein schiefer lasern/ , engraving 30 to 60 %, 100 to 300 mm/s 20 to 40 %, 200 to 400 mm/s 15 to 30 %, 300 to 500 mm/s Granite, dark /laser/materialien/glas stein schiefer lasern/ , engraving 60 to 100 %, 80 to 200 mm/s 50 to 80 %, 150 to 300 mm/s 40 to 70 %, 150 to 300 mm/s Glass, coated /laser/materialien/glas stein schiefer lasern/ , engraving 60 to 100 %, 80 to 200 mm/s 50 to 80 %, 150 to 300 mm/s coating not needed Glass, uncoated /laser/materialien/glas stein schiefer lasern/ , engraving not suitable not suitable 15 to 30 %, 200 to 400 mm/s Paper, fabric and cork Material and task 5 to 10 W diode 20 W diode 40 W diode 40 to 55 W CO₂ Paper /laser/materialien/papier stoff lasern/ 80 to 160 g/m², cutting 20 to 40"},{"t":"Laser software compared: LightBurn, xTool Studio and more","k":"Laser · Software & files","d":"Which laser software suits your machine? LightBurn, xTool Studio, LaserGRBL and manufacturer apps compared: controllers, systems, prices (10/2026), camera, galvo.","u":"/en/laser/software/laser-software-comparison/","x":"Almost every laser engraver comes with free software from the manufacturer. Alongside that there is LightBurn as a paid solution for many brands and LaserGRBL as a free open source program for simple GRBL machines. Which one fits is decided mainly by one question: which controller is inside your laser? The controller decides Every laser has a controller that translates the software's commands into movement and laser power. LightBurn divides them into three groups: G code controllers such as GRBL are found in most open diode lasers for beginners. DSP controllers such as Ruida, Trocen or TopWisdom are usually found in enclosed CO₂ lasers with their own control panel. Galvo controllers such as EZCAD2, EZCAD3 or BSL drive fibre, UV and CO₂ galvos, which deflect the beam with mirrors. What galvo means is explained in Gantry or galvo /laser/grundlagen/portal oder galvo/ . Then there are machines with their own closed controller, such as most xTool and Bambu Lab lasers. They run primarily with their manufacturer's software. Which software is intended for your machine is listed under Software for each device in the device overview /laser/geraete/ . The most important programs at a glance Software Price as of 10/2026 Operating systems Devices Camera Galvo LightBurn Core 99 USD one off, 1 year of updates Windows 10 and 11, macOS 12 and later G code devices GRBL, Smoothieware, Marlin, FluidNC, grblHAL, xTool yes, with a compatible camera no LightBurn Pro 199 USD one off, 1 year of updates same as Core everything in Core, plus DSP Ruida, Trocen, TopWisdom and galvo yes, with a compatible camera yes EZCAD2, EZCAD2 Lite, EZCAD3, BSL xTool Studio free download Windows, macOS Apple Silicon and Intel , plus an app for Android, iOS and iPadOS xTool devices yes, on xTool devices with a camera yes, xTool F series LaserGRBL free, open source GPLv3 Windows controllers with Grbl v0.9 and v1.1 no camera function in the feature list no Falcon Design Space download from the manufacturer, no price given Windows, macOS, plus an app Creality Falcon lasers depends on the device no Prices and system requirements change. Check the details on the manufacturer's pages before buying; the links are in the sources below. LightBurn LightBurn is the most widely used program that does not come from a laser manufacturer. It combines drawing, parameters and machine control in one program and works with devices from many brands. Licences: Core for 99 USD is enough for G code devices. Pro for 199 USD additionally covers DSP and galvo controllers. The upgrade from Core to Pro costs 100 USD. Both licences are one off purchases for permanent use, including commercial use, on up to three computers at the same time. One year of updates is included; after that the last version you received keeps working. A further year of updates costs 40 USD. Trial: 30 days without restrictions, according to LightBurn without a watermark. Operating systems: Version 2.1 runs on 64 bit Windows 10 and 11 and on macOS 12 and later. According to LightBurn, version 1.7 was the last version for Linux. If you use Linux, you therefore stay on an older version without new features. Camera: With a compatible camera, LightBurn can place designs on the live image. Since version 2.1 it also supports network cameras, several cameras at once and cameras from further manufacturers, according to the documentation. Offline: Purchased licences can also be activated on a computer without internet, using a request file and the licence portal. According to LightBurn, this does not apply to the trial version. How to set up LightBurn and what is missing on xTool devices is covered in the article LightBurn /laser/software/lightburn/ . xTool Studio and xTool Creative Space xTool Studio is the software for all xTool devices and the successor to xTool Creative Space XCS . According to xTool, version 2.7 of 25 June 2025 was the last XCS version, and updates are now only released for Studio. The P3 series, the F2, F2 Ultr"},{"t":"Laser types compared: diode, CO₂, fibre, infrared and UV","k":"Laser · Basics","d":"Diode, CO₂, fibre, infrared and UV: wavelengths, suitable materials, cutting power and rough prices of the five laser types at a glance, with a table.","u":"/en/laser/basics/laser-types/","x":"Which laser can process which material is decided mainly by the wavelength. A material has to absorb the light, otherwise the beam passes through or is reflected. That is why no laser can do everything, and why it is worth looking at the five types that are common among hobbyists and small businesses. The overview The prices are rough ranges from our device overview /laser/geraete/ , as of 10/2026. Cutting figures are manufacturer values and only apply to suitable materials. Type Wavelength Good for Weak or unsuitable Cutting Rough price Diode laser approx. 450 nm blue wood, plywood, leather, paper, cardboard, cork, dark acrylic, slate, coated metals clear and light acrylic, bare metal, clear glass wood and dark acrylic, depending on power up to about 10 to 20 mm in one pass about €100 to €2,100 CO₂ laser 10,600 nm wood, acrylic including clear , leather, fabric, paper, rubber, glass and stone engraving bare metal wood and acrylic, also thicker; the strength of this type from about €1,200 simple desktop devices to around €7,000 Fibre laser 1064 nm stainless steel, aluminium, brass, titanium, precious metals, many plastics wood, paper, fabric, clear plastics thin sheet metal only, usually under 1 mm from about €800 simple galvo to around €4,200 MOPA Infrared module 1064 nm, 1 to 5 W marking metal, marking plastics cutting wood, deep engraving practically not add on module for many diode lasers UV laser 355 nm glass, crystal also internally , ceramics, plastics, films thicker materials, cutting not intended for it about €2,400 to €4,300 Diode lasers Diode lasers use semiconductor diodes that emit blue light around 450 nm. They are the cheapest and most common design for getting started. Dark and organic materials absorb blue light well: wood, leather, cork, cardboard and dark acrylic work reliably. The limit shows with transparent and light materials. Clear acrylic is transparent at 450 nm, so the beam simply passes through. White or very light material also absorbs little energy. Bare metal reflects too strongly. Stainless steel can be marked with powerful diode lasers, but this works more reliably with marking spray or an infrared module. A typical open machine is the Creality Falcon2 22W /laser/geraete/creality falcon2 22w/ . According to manufacturers, powerful diode lasers of 40 W and more cut wood in the range of 15 to 20 mm in one pass. These values are optimistic, so expect less in practice. CO₂ lasers CO₂ lasers generate the light in a gas filled tube. Their wavelength is 10.6 µm, that is 10,600 nm, far into the infrared. Almost all non metals absorb this light very well, including clear acrylic and glass. That is why CO₂ is the standard for acrylic signs, model making kits and fabric cutting. CO₂ does not cut glass but engraves it with a frosted finish. A CO₂ laser cannot mark bare metal; for that you need marking spray or an add on module. In our database, simple desktop devices cost about €1,200 to €2,400, for example the OMTech Polar Lite 55W /laser/geraete/omtech polar lite 55w/ . Branded devices with a camera and integrated air assist such as the Bambu Lab R1 or xTool P2S cost €2,500 to €3,000, and the large xTool P3 with a Class 1 enclosure around €6,900. CO₂ devices are bigger and heavier and need cooling and extraction. Fibre lasers Fibre lasers work at 1064 nm in the near infrared. Metals absorb this wavelength much better than that of diode or CO₂ lasers. Fibre lasers are therefore the tool for engraving and marking stainless steel, aluminium, brass, titanium and precious metals. Many plastics can also be marked with high contrast. Wood, paper and fabric, on the other hand, are not their strength. In the hobby sector, fibre lasers are almost always galvo devices with a small working area, for example the ComMarker B4 20W /laser/geraete/commarker b4 20w/ with 110 x 110 mm. They cut thin sheet metal, usually under 1 mm. A special form is the MOPA fibre laser . Its pulse duration can be adjusted. This allows col"},{"t":"Lasering acrylic: cast or extruded, diode or CO₂?","k":"Laser · Materials","d":"Cutting and engraving acrylic with a laser: the difference between GS and XT, why diode lasers cannot do clear or blue acrylic, and starting values for CO₂.","u":"/en/laser/materials/laser-cutting-acrylic/","x":"Acrylic PMMA is the most important material for lasers after wood. With a CO₂ laser you get glossy cut edges and white engravings. With a diode laser much less is possible, and the colour of the sheet decides whether anything happens at all. Cast GS and extruded XT Acrylic comes in two manufacturing types. Cast acrylic GS is poured between sheets, extruded acrylic XT is pressed through a die. For the laser this makes a real difference. Cast GS Extruded XT Engraving bright, frosty white, high contrast matt grey to almost clear, little contrast Cut edge clean and burr free, but less glossy flame polished, so smooth and glossy Thickness tolerance about ±15 % about ±5 % Power required higher lower, cuts faster Price higher cheaper The values for tolerance and edge appearance come from the material notes from Trotec and Epilog. This gives a simple rule of thumb: GS for engraving, XT for cutting. For signs with white lettering you use GS. For parts with plug in joints, XT is often more practical because of the tighter thickness tolerance. The manufacturing type is usually printed on the protective film or in the data sheet. If you do not know it, engrave a small test patch: frosty white points to GS, clear or grey to XT. Colour and diode lasers A diode laser works with blue light at around 450 nm. Clear acrylic lets this light pass almost unhindered, so it is not absorbed and cannot heat anything. The beam is also refracted and does not form a clean focal point. Blue acrylic also lets blue light through. xTool states explicitly in its support pages that clear, white and blue acrylic cannot be cut with the blue diode. Dark, opaque sheets, on the other hand, work well: Acrylic Diode laser CO₂ laser black, opaque good, engraving and cutting good dark colours, opaque mostly good, test good white, opaque poor good red, yellow, green, opaque very variable, test good blue not suitable good clear or transparent tinted not suitable good Manufacturers therefore almost always state the cutting capacity for black acrylic. Two examples from the device overview /laser/geraete/ : the Creality Falcon2 22W /laser/geraete/creality falcon2 22w/ with up to 10 mm black acrylic, the xTool S1 40W /laser/geraete/xtool s1 40w/ with up to 15 mm, each in one pass. If you want to cut clear acrylic regularly, there is no way around a CO₂ laser. Why this is so is explained in Laser types compared /laser/grundlagen/lasertypen/ . Cutting with CO₂ A CO₂ laser works at 10,600 nm. Acrylic absorbs this wavelength well in every colour, including clear. According to the manufacturer, the xTool P2S /laser/geraete/xtool p2s/ with 55 W cuts up to 20 mm of clear acrylic in one pass. A few points matter for a nicely glossy edge: Little air: Too much air assist cools the edge too quickly and it turns milky. Trotec recommends 0.2 bar or less for acrylic where possible. When cutting you still need some air so that no flames form. Not too slow: A very low speed makes the kerf wide and increases the fire risk. Frequency: If your machine lets you set a pulse frequency, Trotec gives about 5,000 to 20,000 Hz for GS and up to 5,000 Hz for XT. Many hobby CO₂ lasers with a glass tube do not have this setting. Support: From about 6 mm thickness, a slat bed is better than a honeycomb bed, because reflections from below otherwise roughen the edge. Protective film: Leave it on when cutting, it protects the surface from smoke deposits. Peel it off afterwards. As a rough rule of thumb, Trotec gives about 10 W of laser power per millimetre of material thickness. A 40 W laser can therefore manage around 4 mm at a good speed, and thicker sheets go slower or in several passes. Engraving Engravings need little energy. A light surface engraving on GS gives the best contrast, too much power makes the engraving grey and rough. Peel off the protective film for engravings. A proven trick with clear acrylic is engraving from behind: you mirror the motif and engrave the back. Seen from the front, the en"},{"t":"Layer shift: when layers move sideways","k":"3D printing · Troubleshooting","d":"Is your print suddenly offset sideways? The most common causes of shifted layers and how to fix them on bed slingers and CoreXY printers.","u":"/en/3d-printing/troubleshooting/layer-shift/","x":"With a layer shift, part of the print is offset sideways, as if someone had pushed the upper layers over. The printer has lost its orientation: it believes it is at a certain position but is in reality a few millimetres off. All following layers are then printed offset. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Layer shift: from a certain layer, the entire upper part of the print is offset sideways\" <text class=\"t\" x=\"16\" y=\"26\" Layer shift</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"110\" y=\"160\" width=\"100\" height=\"80\" rx=\"1\"/ <rect class=\"part\" x=\"144\" y=\"70\" width=\"100\" height=\"90\" rx=\"1\"/ <path class=\"layer\" d=\"M110 176H210M110 192H210M110 208H210M110 224H210M144 86H244M144 102H244M144 118H244M144 134H244M144 150H244\"/ <path class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"4 4\" d=\"M110 70V160\"/ <path class=\"bad\" stroke width=\"2\" d=\"M114 115H140M132 109L142 115L132 121\"/ <text class=\"s bad t\" x=\"104\" y=\"119\" text anchor=\"end\" Offset</text <text class=\"s bad t\" x=\"170\" y=\"274\" text anchor=\"middle\" everything shifted from this layer</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Goal: all layers lie exactly on top of each other\" <text class=\"t\" x=\"16\" y=\"26\" Goal: a straight stack</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"120\" y=\"70\" width=\"100\" height=\"170\" rx=\"1\"/ <path class=\"layer\" d=\"M120 86H220M120 102H220M120 118H220M120 134H220M120 150H220M120 166H220M120 182H220M120 198H220M120 214H220M120 230H220\"/ <text class=\"s good t\" x=\"170\" y=\"274\" text anchor=\"middle\" Layers exactly on top of each other</text </svg </div <figcaption Schematic illustration. On the left, the printer has lost steps, and all layers from this height are offset sideways. On the right, all layers lie neatly on top of each other.</figcaption </figure How do you recognise a layer shift? A clear step in the print, from which everything is shifted Offset usually in one direction only X or Y Often accompanied by a loud crack or knock during the print A single, strong offset points to a collision. Many small offsets suggest a mechanical problem instead. The causes, sorted by frequency 1. The nozzle hits the print If a corner has curled upwards through warping /3d druck/probleme/warping/ or a piece of material sticks out, the nozzle can catch on it. The motor loses steps as a result. Solution: Prevent warping, enable Z hop in the slicer the nozzle lifts briefly during travel moves and avoid travel moves over parts that have already been printed. 2. Loose or incorrectly tensioned belts The belts transmit the motion of the motors. If they are too loose, they skip over the teeth. If they are too tight, the mechanics become stiff. Solution: Check the belt tension according to the manufacturer's specification. On CoreXY printers , both belts must be tensioned equally, otherwise skewed parts also result. Many manufacturers describe how to check the tension, and some printers measure it themselves. 3. Loose pulleys on the motors The small pulley on the motor shaft is fastened with a grub screw. If it has come loose, the pulley slips on the shaft. Solution: Check and tighten the grub screws. The screw should sit on the flat side of the shaft. 4. Speed or acceleration too high If speed or acceleration is raised in the slicer beyond the printer's limits, the motors cannot keep up. Solution: Use manufacturer profiles or reduce the values. 5. Stiff axes or obstacles A cable that catches, dirty guides or an object in the travel path slow the movement. Solution: Move the axes by hand with the printer switched off. They should run smoothly and without resistance. Clean and lubricate the guides according to the manufacturer's specification. 6. Vibrations A knock against the table or an unsteady surface can trigger an offset, especially on bed slingers. Solution: Use a stable, level surface. Quick checklist"},{"t":"LightBurn: licences, prices and first steps for laser engravers","k":"Laser · Software & files","d":"What LightBurn can do, what Core and Pro cost (as of 10/2026), which controllers work, and how to set up device, layers, origin, framing and camera.","u":"/en/laser/software/lightburn/","x":"LightBurn is software for creating and editing designs for the laser and sending them straight to the machine. The current version 2.1 runs on Windows 10 and 11 and on macOS from version 12. According to the documentation, LightBurn only supports Linux up to version 1.7. The program talks to many controllers from different manufacturers. This article shows which licence you need, which machines are supported and how to set up your first jobs. What LightBurn is LightBurn combines three tasks in one program: drawing and editing vectors, setting the laser parameters and controlling the machine. You can import SVG, DXF, AI, PDF and image files, set text, combine shapes, prepare photos for engraving and then send the job to the laser by USB or network. Many manufacturers of open diode lasers supply their own software, but name LightBurn as a supported alternative. Licences and prices as of 10/2026 LightBurn sells two licences. Both are one off purchases and last permanently. The price includes one year of updates, counted from first activation. After that you can keep using the last version you received indefinitely, or buy another year of updates. Licence Price Supported controllers Core US$99 G code controllers: GRBL, Marlin, Smoothieware Pro US$199 everything in Core, plus DSP controllers Ruida, TopWisdom, Trocen and galvo controllers EZCad2, EZCad3, BSL One year of updates US$40 the same for Core and Pro Upgrade from Core to Pro US$100 afterwards the same as Pro The source is the overview page on lightburnsoftware.com. Prices are in US dollars, and depending on the payment method, currency conversion and taxes are added. Most open diode lasers for hobby users run on GRBL and therefore only need Core. Enclosed CO₂ lasers with a Ruida controller and fibre lasers with an EZCad controller need Pro. Before buying, check your machine's manual to see which controller is fitted. Trial period You can try LightBurn free for 30 days. According to the LightBurn documentation, the trial can be extended up to three times by 15 days each; from version 1.5 this happens automatically. Use the time to check that your machine connects cleanly and that all the functions you need work. Which machines are supported Besides the controllers in the table, since version 1.7 there has been a separate device type for some xTool lasers. Support is limited, though. For the xTool S1 20W /laser/geraete/xtool s1 20w/ , xTool itself writes that LightBurn does not cover all functions and recommends its own software for the full range. On the xTool P2S /laser/geraete/xtool p2s/ , LightBurn lacks camera and autofocus. Galvo machines such as the xTool F2 or F2 Ultra are not supported at all according to the manufacturer. Whether your machine works is stated in the device overview under Software. A galvo laser with an EZCad2 controller, such as the ComMarker B4 20W /laser/geraete/commarker b4 20w/ , needs the Pro licence. How galvo and gantry differ is explained in Gantry or galvo /laser/grundlagen/portal oder galvo/ . Alternatives xTool Studio formerly XCS : free manufacturer software for xTool machines, with full support for camera, autofocus and accessories. LaserGRBL: free and open source, runs only on Windows and only with GRBL controllers. For simple engravings and cuts that is often enough, but for drawing it is much more limited than LightBurn. Falcon Design Space: free software from Creality for the Falcon machines. Manufacturer software from other brands: Acmer names Acmer Studio and an app for its machines, and Atomstack, Ortur or Sculpfun similarly offer their own programs. Range of functions and upkeep vary widely. Manufacturer software has the advantage that material profiles and special functions of the machine are built in. LightBurn plays to its strength when you use several machines from different brands or do a lot of drawing yourself. You will find a detailed comparison with prices, operating systems, and camera and galvo support in Laser softwar"},{"t":"Lowering the focus per pass: cutting thick sheets cleanly","k":"Laser · Settings","d":"Why the focus is off on multi-pass cuts, how focus lowering in xTool Studio and Z Step per Pass in LightBurn work, and which starting values to test.","u":"/en/laser/settings/lowering-focus-per-pass/","x":"When you cut a thick sheet in several passes, the laser eats deeper into the material with every pass. The focal point, however, stays where you set it at the start. With a motorised Z axis you can move the focus down as you go: in xTool Studio this is called focus lowering Fokusabstieg , in LightBurn it is Z Offset and Z Step per Pass. This guide shows what the functions do according to the documentation, which machines support them and how to get started safely. Why the focus is off after the first pass The laser beam is narrowest at the focal point and widens again in front of and behind it, like an hourglass. The basics are covered in the article Laser focus /laser/einstellungen/laser fokus/ . After the first pass, the point where cutting continues is no longer at the surface but at the bottom of the kerf. The beam is already wider there, the energy spreads over a larger area, and every further pass gains less depth. The LightBurn documentation describes exactly this purpose: with Z Step per Pass you move the focal point deeper on every pass so that cutting stays efficient. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Pass 2 without lowering: the focal point stays at the surface, and at the bottom of the cut the beam is already wide\" <text class=\"t\" x=\"16\" y=\"26\" Pass 2 without lowering</text <rect class=\"tool\" x=\"148\" y=\"40\" width=\"44\" height=\"34\" rx=\"3\"/ <path class=\"tool\" d=\"M152 74H188L184 82H156Z\"/ <path class=\"part\" d=\"M40 140H159L166 180H174L181 140H300V210H40Z\"/ <rect class=\"plate\" x=\"16\" y=\"210\" width=\"308\" height=\"12\" rx=\"3\"/ <path class=\"fil\" stroke width=\"2\" d=\"M156 82L170 140L184 82\"/ <path class=\"fil\" stroke width=\"1.5\" stroke dasharray=\"3 3\" opacity=\"0.7\" d=\"M170 140L179.7 180M170 140L160.3 180\"/ <path class=\"bad\" stroke width=\"4\" d=\"M160 180H180\"/ <text class=\"s\" x=\"148\" y=\"128\" text anchor=\"end\" Focal point</text <text class=\"s\" x=\"304\" y=\"116\" text anchor=\"end\" Cut from</text <text class=\"s\" x=\"304\" y=\"131\" text anchor=\"end\" pass 1</text <text class=\"s bad t\" x=\"170\" y=\"256\" text anchor=\"middle\" Spot too wide at cut bottom</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Pass 2 with lowering: the laser head moves down, the focal point is at the bottom of the cut\" <text class=\"t\" x=\"16\" y=\"26\" Pass 2 with lowering</text <rect class=\"tool\" x=\"148\" y=\"40\" width=\"44\" height=\"34\" rx=\"3\" fill opacity=\"0.15\" stroke dasharray=\"3 3\"/ <rect class=\"tool\" x=\"148\" y=\"76\" width=\"44\" height=\"34\" rx=\"3\"/ <path class=\"tool\" d=\"M152 110H188L184 118H156Z\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M210 50V96M205 90L210 97L215 90\"/ <text class=\"s\" x=\"218\" y=\"70\" Head down</text <text class=\"s\" x=\"218\" y=\"85\" by one step</text <path class=\"part\" d=\"M40 140H159L166 180H174L181 140H300V210H40Z\"/ <rect class=\"plate\" x=\"16\" y=\"210\" width=\"308\" height=\"12\" rx=\"3\"/ <path class=\"fil\" stroke width=\"2\" d=\"M156 118L170 178L184 118\"/ <path class=\"good\" stroke width=\"5\" d=\"M168 178H172\"/ <text class=\"s good t\" x=\"170\" y=\"256\" text anchor=\"middle\" Focal point at cut bottom</text </svg </div <figcaption Schematic cross section through a thick sheet, second pass. On the left the focal point stays at the surface, and at the bottom of the cut the beam is already wide. On the right the head moves down by the step size and the focal point sits where cutting continues.</figcaption </figure Important: lowering does not replace suitable basic settings. xTool states explicitly that lowering is not a fix for failed cuts. Power, speed and number of passes have to be right first, see Laser parameters /laser/einstellungen/laser parameter/ and Material test /laser/einstellungen/materialtest/ . Requirement: a motorised Z axis The focus can only be lowered by software if the machine can move the laser head or the work surface in height by itself. This is usually the case for machines with autofocus, but not for open diode lasers with a fixed, screwed on module. Machine example Cutting claim accord"},{"t":"Melting in threaded inserts: a guide for 3D printing","k":"3D printing · Accessories","d":"How to melt in threaded inserts correctly: types, hole diameter, soldering iron temperature, wall thickness and a step-by-step guide.","u":"/en/3d-printing/accessories/heat-set-inserts/","x":"Screws driven directly into printed plastic hold at first, but after a few rounds of screwing and unscrewing, the thread is worn out. For housings, brackets and anything that is opened more often, there are threaded inserts made of brass. They are melted into the part with a soldering iron and give you a metal thread that survives many assemblies. What options are there? Method How it works Good for Limits Heat set inserts Brass sleeve with knurling is pressed in hot, the plastic flows into the structure almost everything, frequently opened joints soldering iron needed Press in nuts Sleeve is pressed or hammered in cold quick assembly without heat hold considerably less, part can crack Embedded nuts Hex nut is placed in a pocket during a print pause and printed over high tensile loads, no tool other than the printer pause has to be set in the slicer, nut cannot be changed later Nut in an open pocket Nut is slid in from the side or from below simple designs pocket has to be provided in the model Directly cut thread Print or drill a core hole, cut the thread with a tap, or use plastic screws self tapping rarely opened joints wears with frequent loosening For most projects, heat set inserts are the best compromise between hold, effort and price. The rest of this article is about them. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Before: the insert sits on the slightly smaller hole, the soldering iron presses it in\" <text class=\"t\" x=\"16\" y=\"24\" Melting in</text <path class=\"part\" d=\"M120 130H150V197H190V130H220V250H120Z\"/ <rect class=\"tool\" x=\"156\" y=\"34\" width=\"28\" height=\"22\" rx=\"2\"/ <path class=\"tool\" d=\"M160 56H180L176 74H164Z\"/ <path class=\"tool\" d=\"M165 74H175V84H165Z\"/ <path class=\"ink\" stroke width=\"1.6\" d=\"M147 76L150 82L147 88L150 94L147 100L150 106L147 112L150 118L147 124L150 130L150 130H190L193 130L190 124L193 118L190 112L193 106L190 100L193 94L190 88L193 82L190 76Z\"/ <path class=\"ink\" stroke width=\"1.2\" opacity=\"0.6\" d=\"M159 76V130M181 76V130\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M220 50V86M214 76L220 86L226 76\"/ <text class=\"s\" x=\"140\" y=\"48\" text anchor=\"end\" Soldering iron</text <text class=\"s\" x=\"324\" y=\"104\" text anchor=\"end\" Insert slightly</text <text class=\"s\" x=\"324\" y=\"118\" text anchor=\"end\" wider than hole</text <text class=\"s\" x=\"170\" y=\"278\" text anchor=\"middle\" let it sink in hot, no pressure</text </svg <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"After: the insert sits flush, there is room below it, enough wall all round\" <text class=\"t\" x=\"16\" y=\"24\" Inserted</text <path class=\"part\" d=\"M120 130H150V197H190V130H220V250H120Z\"/ <path class=\"ink\" stroke width=\"1.6\" d=\"M147 130L150 136L147 142L150 148L147 154L150 160L147 166L150 172L147 178L150 184L150 184H190L193 184L190 178L193 172L190 166L193 160L190 154L193 148L190 142L193 136L190 130Z\"/ <path class=\"ink\" stroke width=\"1.2\" opacity=\"0.6\" d=\"M159 130V184M181 130V184\"/ <path class=\"good\" stroke width=\"2\" d=\"M100 130H240\"/ <text class=\"s good t\" x=\"324\" y=\"120\" text anchor=\"end\" flush</text <path class=\"ink\" stroke width=\"1.2\" d=\"M122 166H145M122 160V172M145 160V172\"/ <text class=\"s\" x=\"112\" y=\"170\" text anchor=\"end\" Wall</text <path class=\"ink\" stroke width=\"1.2\" d=\"M184 192L246 216\"/ <text class=\"s\" x=\"324\" y=\"222\" text anchor=\"end\" Room for</text <text class=\"s\" x=\"324\" y=\"236\" text anchor=\"end\" plastic</text <text class=\"s\" x=\"170\" y=\"278\" text anchor=\"middle\" plastic flows into the knurling</text </svg </div <figcaption Schematic illustration. On the left the insert sits on the slightly smaller hole and is melted in with the soldering iron. On the right it sits flush, the displaced plastic holds it in the knurling, and a little room remains below it.</figcaption </figure Hole diameter: follow the manufacturer's table The hole must be slightly smaller than the outer diameter of the insert so that the displaced plastic flows into the knurling. The correct dimensions are in the manufacturer's ta"},{"t":"Multi-colour printing: AMS, tool changers and more explained","k":"3D printing · Basics","d":"Which systems exist for multi-colour printing, how much waste they create, how to save purge material and when a colour-change pause is enough.","u":"/en/3d-printing/basics/multi-colour-printing/","x":"At its most basic, an FDM printer has one nozzle and processes one filament. For several colours in one part there are therefore different solutions, from the simple pause to a printer with several complete print heads. They differ above all in how much time and material each colour change costs. Colour change by pause: getting started The simplest method needs no additional hardware. In the slicer you define at which layer height the colour should change. The printer stops there, you swap the filament by hand and resume the print. Technically this is usually the M600 command, which many slicers insert with a right click on the layer slider. This works well for signs, lettering or logos where the colour only changes from layer to layer. Several colours within the same layer are not possible this way. You also have to be at the printer at the right moment. Filament changers with one nozzle This is the most widespread system. An add on unit holds several spools, usually four per unit, and feeds the matching filament to the nozzle as needed. Examples are the AMS Automatic Material System from Bambu Lab, the CFS Creality Filament System , the ACE Anycubic Color Engine , the QIDI Box or the MMU3 Multi Material Unit from Prusa. AMS is therefore a Bambu Lab product name, but it is often used for all of these systems. On some printers such a system is built in. A colour change roughly runs like this: 1. The current filament is cut off or retracted. 2. The unit pulls it back out of the print head. 3. The new filament is pushed up to the nozzle. 4. The nozzle is purged until the old colour is completely gone. The last step is the problem: hotend and nozzle still contain molten material of the old colour. It has to be pushed out before the new colour looks clean. This purge waste ends up either as small sausages behind the printer, affectionately called \"poop\" in the scene, or in a purge tower purge tower or prime tower , which the slicer places next to the part. Many of these systems also store the filament protected from moisture, and some actively dry it. Every change costs time. With hundreds of changes in one print, hours add up quickly. Reducing purge waste For parts with many colour changes, the waste can weigh more than the part itself. These levers help: Purge into the infill: The old colour is printed into the part's filling, which nobody sees later. In Bambu Studio and OrcaSlicer the option is called \"Flush into objects' infill\", in PrusaSlicer \"Wipe into this object's infill\". Purge into supports: Support structures also end up in the bin, so the mixed colour can go there. Purge into a sacrificial object: An additional part on the plate, printed in mixed colours, for example a cube or filler material. Adjust purge volumes: Going from light to dark needs less purge material than going from dark to light. The slicers calculate the volumes per colour pair, and they can often be reduced with a factor. Lower them carefully and test, otherwise you get colour streaks. Save colour changes: Several parts on the plate at the same time share the changes per layer. Arrange colours layer by layer rather than mixed where possible. Choose the colour order so that light colours come before dark ones. More on supports in Support structures /3d druck/einstellungen/stuetzstrukturen/ , on the topic of filling in Infill /3d druck/einstellungen/infill/ . Two nozzles Some printers have two nozzles on one print head, of which one is active at a time. Each material has its own hotend. Switching between the two nozzles creates hardly any waste. A typical combination is part material and support material, for example PLA with water soluble PVA. With an additional filament changer, more colours are also possible, but then each nozzle purges separately again. With two nozzles, the height difference between them must be exactly right, otherwise the inactive nozzle drags across the print. Current machines calibrate this automatically. Tool changers A tool "},{"t":"Multicolour cutting and Print then Cut: layering, stickers","k":"Makerspace · Cutting plotters","d":"Layering flex film and vinyl for multicolour designs, order and alignment, Print then Cut with an inkjet printer for stickers, and a note on fabric and wood.","u":"/en/makerspace/cutting-plotters/multicolour-cutting-print-then-cut/","x":"A cutting plotter cuts, it does not print. For multicolour designs there are therefore two ways: you cut each colour from its own film and stack them, or you print the design with an inkjet printer and let the plotter cut out the outline. The second is called \"Print Then Cut\" at Cricut and \"Print & Cut\" at Silhouette. Stacking films layering Print then Cut Colours one colour per film any, including gradients and photos Material flex film, vinyl printable paper, sticker paper, printable vinyl, printable flex film Additional equipment none, a press for textiles inkjet printer Typical for shirts, lettering, logos stickers, labels, tags Multicolour with flex film Preparation 1. Split the design into colours. Each colour is its own layer and is cut from its own film. Plan beforehand which colour goes at the bottom: the retailer Atlanta Vinyl advises starting with the largest or bottom most colour as layer 1 and finishing with the smallest detail on top. 2. Check whether the films hold on top of each other. Not every flex film can be layered. Siser states this in the technical data of each film \"Can be layered\" , and P.S. Film, for example, can be layered. Cricut also lists Everyday Iron On as stackable. 3. Glitter and holographic only on top. No further film holds on the rough surface of glitter film, and according to Siser it comes off in the wash. The same applies to holographic film. 4. Mirror and cut, as with any flex film, see Cutting and ironing on flex film /makerspace/plotter/flexfolie aufbuegeln/ . 5. Trim the carriers closely. That way the carriers do not lie on top of each other when pressing and leave fewer marks on the lower layer. Aligning with registration crosses To make the colours fit together exactly, you add a small mark in the same place on each layer, for example a cross or square outside the design. These registration crosses are cut along with it and are lined up on top of each other when you place the layers. Atlanta Vinyl recommends registration marks in every layer and a light table or a window as backlight. Remove the marks before the final press. Pressing: tack briefly, full time only at the end The bottom layer receives the heat of every further press. Siser does the maths: if you press four colours for 15 seconds each, the first layer has been pressed for a whole minute by the end. Too much heat makes the film shrink, and then the colours no longer fit together. This is how it works according to Siser: 1. Only tack the first layer briefly, 1 to 5 seconds with the carrier. 2. Peel off the carrier, as the film requires. 3. Align the next layer and tack it briefly again. 4. Always press with a protective sheet , that is baking paper, multipurpose paper or a clean cotton cloth. Otherwise the layer that has already been pressed on, without its carrier, can melt or leave adhesive residue on the heating plate. 5. Only press the last layer for the full time, 15 seconds for P.S. Film. For washing, the lowest wash temperature of all the films used applies. Guide values for temperature and pressure are in Using a heat press correctly /makerspace/heisspressen/ . Multicolour with vinyl With adhesive film for stickers, windows or mugs, the principle works the same way, just without heat. The layers are transferred with transfer film. Registration crosses and the order from bottom to top help here as well. Print then Cut: print first, then cut How it works The software places black registration marks around your design. You print the sheet on your printer, place it on the mat, and the plotter's optical sensor reads the marks. That way it knows where the printed design is and cuts exactly along the outline. Cricut: According to Cricut, the Joy Xtra, Explore 5 and Maker 5 can do Print Then Cut. The printer must be an inkjet printer , not a laser printer. The sheet goes in the top left corner of the mat's adhesive area. Silhouette: Switch on the registration marks in the page setup; type 1 is the standard for current m"},{"t":"OrcaSlicer: the community slicer with built-in calibration tests","k":"3D printing · Slicers","d":"What OrcaSlicer can do, why it is so popular, which printers it supports and which calibration tests it includes.","u":"/en/3d-printing/slicers/orcaslicer/","x":"OrcaSlicer is a free, open source slicer developed further by a large community. It is built on Bambu Studio and adds many features that make tinkering and optimising easier. Several manufacturer slicers are now even based on OrcaSlicer. At a glance Developer Community, founded by SoftFever Cost free, no paid features Licence Open source AGPL 3.0 Systems Windows, macOS, Linux Origin Further development of Bambu Studio Who is OrcaSlicer suited to? Owners of almost any printer: There are profiles for hundreds of machines, including from Bambu Lab, Prusa, Creality, Anycubic, Elegoo and Voron. Anyone who wants to optimise: The built in tests make fine tuning much easier. Owners of several printer brands: one slicer for all machines. The built in calibration tests This is the main argument for OrcaSlicer. Instead of looking for test models and adjusting settings by hand, you start the tests straight from the menu: Temperature tower: finds the best nozzle temperature, more in Setting the print temperature /3d druck/einstellungen/drucktemperatur/ Flow rate: sets how much material is fed Pressure advance: compensates for the pressure in the nozzle when speeds change, for cleaner corners Retraction: finds the right retraction length to prevent stringing Maximum volumetric flow: shows how fast your hotend can print with a given filament Tolerance test: checks how accurate fits turn out Other strengths Several build plates in one project Good control over the seam , that is, the point where each layer starts and ends Network printing to many printers, including Bambu Lab and machines with Klipper firmware Limitations Many settings can overwhelm beginners. The default profile is enough to start with. Manufacturer features such as cloud services or special multi colour systems sometimes run more smoothly in the manufacturer's own slicer. Manufacturer slicers based on OrcaSlicer Several manufacturers ship their own versions of OrcaSlicer, for example Creality Print, ElegooSlicer and Anycubic Slicer Next. They look very similar and contain the profiles and cloud features of the respective manufacturer. For an overview of all the major slicers, see the slicer comparison /3d druck/slicer/ ."},{"t":"Over-extrusion: too much material, bulges and blobs","k":"3D printing · Troubleshooting","d":"Bulges, blobs, dimensions too large? How to recognise over-extrusion, what causes it and how to set flow and profile correctly.","u":"/en/3d-printing/troubleshooting/over-extrusion/","x":"With over extrusion, the printer pushes more plastic out of the nozzle than the model needs. The excess material has to go somewhere: it forms bulges on the walls, blobs at corners and rough top surfaces. Parts also come out too large and no longer fit together. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 250\" role=\"img\" aria label=\"Over extrusion in cross section: lines that are too thick swell above the target height, the nozzle drags across them\" <text class=\"t\" x=\"16\" y=\"26\" Too much material</text <rect class=\"plate\" x=\"16\" y=\"190\" width=\"308\" height=\"14\" rx=\"3\"/ <ellipse class=\"part\" cx=\"62\" cy=\"176\" rx=\"27\" ry=\"14\"/ <ellipse class=\"part\" cx=\"106\" cy=\"176\" rx=\"27\" ry=\"14\"/ <ellipse class=\"part\" cx=\"150\" cy=\"176\" rx=\"27\" ry=\"14\"/ <ellipse class=\"part\" cx=\"194\" cy=\"176\" rx=\"27\" ry=\"14\"/ <ellipse class=\"part\" cx=\"238\" cy=\"176\" rx=\"27\" ry=\"14\"/ <ellipse class=\"part\" cx=\"282\" cy=\"176\" rx=\"27\" ry=\"14\"/ <path class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"4 4\" d=\"M24 172H316\"/ <rect class=\"tool\" x=\"263\" y=\"118\" width=\"38\" height=\"28\" rx=\"3\"/ <path class=\"tool\" d=\"M274 146H290L284 162H280Z\"/ <text class=\"s bad t\" x=\"252\" y=\"136\" text anchor=\"end\" Nozzle drags</text <text class=\"s\" x=\"24\" y=\"152\" Target height</text <text class=\"s bad t\" x=\"170\" y=\"236\" text anchor=\"middle\" Lines swell over, bulges</text </svg <svg viewBox=\"0 0 340 250\" role=\"img\" aria label=\"Goal: the lines finish flush at the target height\" <text class=\"t\" x=\"16\" y=\"26\" Goal: the right amount</text <rect class=\"plate\" x=\"16\" y=\"190\" width=\"308\" height=\"14\" rx=\"3\"/ <ellipse class=\"part\" cx=\"62\" cy=\"181\" rx=\"23\" ry=\"9\"/ <ellipse class=\"part\" cx=\"106\" cy=\"181\" rx=\"23\" ry=\"9\"/ <ellipse class=\"part\" cx=\"150\" cy=\"181\" rx=\"23\" ry=\"9\"/ <ellipse class=\"part\" cx=\"194\" cy=\"181\" rx=\"23\" ry=\"9\"/ <ellipse class=\"part\" cx=\"238\" cy=\"181\" rx=\"23\" ry=\"9\"/ <ellipse class=\"part\" cx=\"282\" cy=\"181\" rx=\"23\" ry=\"9\"/ <path class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"4 4\" d=\"M24 172H316\"/ <rect class=\"tool\" x=\"263\" y=\"118\" width=\"38\" height=\"28\" rx=\"3\"/ <path class=\"tool\" d=\"M274 146H290L284 162H280Z\"/ <text class=\"s\" x=\"24\" y=\"152\" Target height</text <text class=\"s good t\" x=\"170\" y=\"236\" text anchor=\"middle\" flat and flush</text </svg </div <figcaption Schematic illustration, cross section through a layer. On the left the printer delivers too much plastic, the lines swell above the target height and the nozzle brushes across them. On the right they lie flat and flush next to each other.</figcaption </figure How do you recognise over extrusion? Walls look bulgy , the individual layers stand out like small ribs. The top surface is rough or wavy , the lines are raised instead of lying smoothly next to each other. Blobs and zits at corners and at the Z seam. Dimensions too large: a test cube measures more on the outside than intended, holes are too small. The nozzle drags across the top surface because too much material already lies there. You hear a faint scraping, and sometimes small parts tip over. The opposite, meaning gaps, thin walls and a net like top surface, is under extrusion /3d druck/probleme/unterextrusion/ . Both problems often come down to the same adjustments, just in the other direction. The causes, sorted by frequency 1. Flow value too high The flow factor flow ratio or extrusion multiplier determines how much material the printer delivers relative to the calculation. If it is set too high, a little too much comes out on every line. Values above 1.0 are rarely needed. According to Bambu Lab, a filament only very rarely needs more than 1.00. Solution: run a flow calibration. Bambu Studio and OrcaSlicer offer a built in test for this: first a coarse pass in 5 per cent steps, then a fine one in 1 per cent steps. You pick the patch with the smoothest top surface. If you work manually, reduce the flow in small steps of 2 to 5 % and print a test cube each time. More on the procedure is in Calibration /3d druck/einstellungen/kalibrieren/ . 2. Wrong "},{"t":"PETG HF, PETG-CF, PCTG and PETG Translucent: the Differences","k":"3D printing · Filaments","d":"What is behind PETG HF, PETG-CF, PCTG and transparent PETG, which temperatures manufacturers give and what each variant is suited for.","u":"/en/3d-printing/filaments/petg-variants/","x":"Three of these are variations of PETG. PCTG is a plastic in its own right that, according to manufacturers, is similarly easy to print. The difference in brief: PETG HF is PETG that flows better for faster printing. For this, Bambu Lab gives slightly lower nozzle temperatures than for normal PETG. PETG CF contains carbon fibres. It is stiffer, matt and needs a hardened nozzle. PETG Translucent is designed for light transmission. How clear the part becomes depends heavily on the settings. PCTG is a PETG alternative with, according to the manufacturer's datasheet, much higher impact strength, but it prints hotter. How normal PETG is printed is explained in Printing PETG /3d druck/filamente/petg/ . Overview based on manufacturer figures The values for the PETG variants come from the Bambu Lab wiki, the PCTG values from Fiberlogy's datasheet. Other manufacturers sometimes give different ranges, and the figure on your spool always takes priority. Variant Nozzle Print bed Hardened nozzle Special feature PETG Bambu Lab 240 to 270 °C 60 to 80 °C not needed Standard PETG HF Bambu Lab 230 to 260 °C 60 to 80 °C not needed for high speed PETG CF Bambu Lab 240 to 270 °C 60 to 80 °C required no 0.2 mm nozzle PETG Translucent Bambu Lab 230 to 260 °C 60 to 80 °C not needed no 0.2 mm nozzle PCTG Fiberlogy 250 to 270 °C 90 °C no manufacturer information high impact strength Bambu Lab gives the nozzle temperatures with a tolerance of plus or minus 10 °C. For comparison: for normal PETG, Prusa recommends 230 °C for the first layer and 240 °C for the following layers, with the bed at 85 °C and then 90 °C. PETG HF: what is different? HF stands for High Flow, meaning a high flow rate. It refers to a PETG formulation that flows more easily in the nozzle, so that the printer can feed more material per second and therefore print faster. ELEGOO gives print speeds of up to 600 mm/s for its PETG HF, but recommends moderate speeds for the most consistent quality. Siraya Tech describes its high speed PETG as a formulation for a flow rate of up to 25 mm³/s. PETG or PETG HF? Same uses: Both are suitable for robust everyday and functional parts. Temperature: According to Bambu Lab, PETG HF prints in the range 230 to 260 °C, normal PETG in the range 240 to 270 °C. Speed: The advantage of PETG HF only shows if the printer actually uses the higher speed. On a slow printer it brings little. Moisture: For damp PETG HF, Bambu Lab has a dedicated profile, \"Generic PETG HF\", with 220 °C and 16 mm³/s. This is slower than the standard profile \"Bambu PETG HF\". After drying, Bambu Lab recommends the standard profile again. Bambu Lab makes no statements in its wiki about differences in strength between PETG and PETG HF. PETG CF: with carbon fibres Short carbon fibres make the material stiffer and give a matt surface. In return, it is abrasive: Hardened nozzle: Bambu Lab specifies a hardened nozzle for PETG CF. According to Bambu Lab, brass and stainless steel wear quickly. The first choice, it says, is a 0.6 mm nozzle made of hardened steel, and for the special Bambu filaments such as PETG CF a 0.4 mm nozzle made of hardened steel. A 0.2 mm nozzle is not suitable because of the risk of clogging. Multicolour system: Bambu PETG CF is approved in the AMS, not recommended in the AMS lite. Gloves: Bambu Lab advises wearing protective gloves when working with carbon fibre filament, because fine fibre dust can irritate skin, especially at broken edges. More on fibres, nozzles and wear can be found in Fibre reinforced filaments /3d druck/filamente/faserverstaerkte filamente/ . PETG Translucent: as see through as possible According to Bambu Lab, PETG is fundamentally clearer than PLA because it is amorphous, whereas PLA is semi crystalline. For the highest possible transparency, Bambu Lab recommends: 1. Dry it well , otherwise bubbles form. 2. Large nozzle , 0.8 mm recommended, so that fewer lines and transitions appear. 3. No top and bottom layers , infill 100 % and rectilinear, s"},{"t":"PLA, PETG, ABS, ASA, TPU: which filament for what?","k":"3D printing · Filaments","d":"The five most important filaments at a glance: temperatures, properties, typical uses, prices per kilo and which printer can handle what.","u":"/en/3d-printing/filaments/","x":"In FDM printing, the filament decides almost everything: how easy the print is, how sturdy the part turns out and whether it withstands sun, heat or bending. The good news: for 90 percent of all hobby projects, two materials are enough. For the rest, it is worth looking at the differences. The short version Material Nozzle guide value Bed guide value Difficulty Typical for PLA 190 to 220 °C 50 to 60 °C very easy decoration, prototypes, figures PETG 230 to 250 °C 70 to 85 °C easy functional parts, brackets ABS 240 to 260 °C 90 to 110 °C medium to hard heat resistant parts ASA 240 to 260 °C 90 to 110 °C medium to hard outdoor parts TPU 210 to 230 °C 40 to 60 °C medium seals, cases, dampers All materials with chamber, fan and drying at a glance, also for printing out: Temperature cheat sheet /3d druck/rechner/temperaturen/ . The values are guide values. The information on the spool always takes priority, because even two PLA types from different manufacturers can differ by 20 °C. Detailed practical articles with settings and troubleshooting: PLA /3d druck/filamente/pla/ · PETG /3d druck/filamente/petg/ · ABS /3d druck/filamente/abs/ · ASA /3d druck/filamente/asa/ · TPU /3d druck/filamente/tpu/ PLA: the standard for getting started PLA is the easiest material of all. It prints at low temperatures, barely warps and does not need an enclosed chamber. PLA comes in countless colours and variants, from silk gloss to wood look to glitter. The big weakness is heat. From about 55 to 60 °C, PLA becomes soft. A phone holder in the car that lies in the sun in summer will deform. For everything that stays indoors and is not heavily loaded, though, PLA is the first choice. PETG: robust everyday plastic PETG is tougher than PLA, does not break as easily and withstands more heat. That makes it the obvious choice for brackets, housings and anything that is mechanically stressed. There are two things to know: PETG tends to string, that is, fine threads between the parts. A slightly lower temperature and dry filament help. PETG also sometimes sticks too well, and on smooth PEI plates it can tear pieces out of the coating. A release agent such as glue stick solves this. ABS and ASA: heat resistant but demanding ABS and ASA withstand considerably more heat than PLA and PETG and can be sanded and post processed well. ASA is additionally UV resistant, which makes it the material of choice for parts that stay outdoors permanently. Both shrink strongly as they cool and tend to warp. In practice this means: without an enclosed chamber it gets tedious. An open printer in a draughty room often produces detached corners and cracks between the layers with ABS. Fumes are also produced while printing, so the room should be well ventilated. Enclosed printers with a filter have a clear advantage here. TPU: flexible like rubber TPU is elastic and suits phone cases, seals, feet for devices or dampers. It is printed slowly, because otherwise the soft material gets compressed in the extruder. A direct drive extruder makes TPU considerably easier than a Bowden system. How soft TPU is is stated as Shore hardness on the spool. 95A is the usual starting point, below that it gets softer and harder to print. What does which filament cost? Rough prices per kilogram so that you can plan. The ranges run from inexpensive own brand filament to branded goods. Small spools 500 or 750 g are converted to the kilo and are usually more expensive. Current prices of individual PLA types are in the PLA comparison /3d druck/filamente/pla vergleich/ . Material Price per kg approx. Note PLA €10 to €33, usually €11 to €25 Matt and silk cost barely more than standard PLA, European branded goods Extrudr, Prusament €25 to €33, speciality types such as wood or glitter up to about €50 PETG €12 to €45, usually €14 to €35 flame retardant and ESD types considerably more expensive ABS €14 to €33 in practice needs an enclosed chamber ASA €17 to €46, usually €23 to €35 UV resistant, for parts that sta"},{"t":"Plotter, sublimation or DTF? Which technique for which textile","k":"Makerspace · Basics","d":"Heat transfer vinyl, sublimation and DTF compared: which technique works on cotton, polyester, dark fabrics and mugs, how it looks and from what quantity it pays off.","u":"/en/makerspace/basics/","x":"For a printed T shirt, mug or bag there are three common routes in your own makerspace: cutting heat transfer vinyl , sublimation and DTF . All three need a heat press in the end. Which technique suits you is decided mainly by the material: sublimation only works on polyester and coated blanks, while vinyl and DTF also work on cotton. The three techniques at a glance Heat transfer vinyl plotter Sublimation DTF How it works Vinyl is cut, weeded and pressed on Ink turns gaseous under heat and dyes the fibre Print on film, hot melt powder, press on Cotton yes no yes Polyester yes yes, at least about 75 % according to Cricut yes Dark fabrics yes no, only white or light yes, thanks to the white base Mugs, tiles, metal no yes, if polymer coated not usual Colours and photos one colour per vinyl layer, no photos any, including gradients and photos any, including gradients and photos Feel on the fabric noticeable film layer no feel, the colour sits in the fibre light to medium layer Durability good, can crack with poor pressing very good, does not wash out good, can crack at the edges Sensible run size according to Sign Warehouse 1 to 50 1 to 100 from about 25 to several hundred Which technique for which project? One lettering or logo in a single colour on a cotton shirt: Heat transfer vinyl. You need a cutting plotter /makerspace/plotter/ and a heat press /makerspace/heisspressen/ . Photos on mugs, coasters, mouse mats or polyester shirts: Sublimation. You need a sublimation printer /makerspace/sublimation/ , suitable blanks and a press, and for mugs a mug press or an oven. Colourful designs on cotton or dark fabrics, also in runs: DTF. This is the most expensive way in, see DTF printing /makerspace/dtf/ . Colourful designs on glass, wood or plastic: UV DTF is meant for that, and it belongs to UV printing /uv druck/ . According to suppliers, UV DTF does not adhere to fabric. How these three techniques compare with DTG and screen printing, which are mainly used by print shops, is covered in DTF, DTG, screen printing, sublimation and heat transfer vinyl compared /makerspace/grundlagen/textildruck verfahren vergleich/ . What getting started costs A US retailer compared the equipment for getting started: about US$1,100 for vinyl, about US$2,270 for sublimation and about US$7,205 for DTF. With DTF, a powder station, curing, a press and ventilation are added, and the white ink needs daily care. The figures apply to the US market but show the order of magnitude. You will find current machine prices in euros in the device overview /makerspace/geraete/ . Sources Sign Warehouse: DTF vs. Sublimation vs. HTV https://signwarehouse.com/blogs/content/dtf vs sublimation vs htv retailer Cricut Help: Infusible Ink FAQ https://help.cricut.com/hc/en us/articles/360023925294 Infusible Ink FAQ Siser EasyWeed: Product page at Swing Design https://www.swingdesign.com/products/siser easyweed heat transfer material 12 inches x 12 inch sheet 46 colors available Sawgrass: Sublimation Heat Press Settings https://care.sawgrassink.com/hc/en us/articles/10587333978011 Sublimation Heat Press Settings xTool: Curing DTF powder https://www.xtool.com/blogs/how to/how to cure dtf powder Epson: DTF press release https://www.epson.co.nz/newsroom/article.asp?ID=2729 StickerApp: UV DTF on fabric https://stickerapp.com/support/transfer/uv dtf/do uv dtf work on fabric"},{"t":"Positioning accurately: jigs, camera and series production","k":"UV printing · Print files & workflow","d":"Design off-centre or crooked? How to position accurately with an origin point, camera, jigs and the right print height, and how to print several parts at once.","u":"/en/uv-printing/workflow/uv-print-positioning/","x":"A beautiful design is of little use if it sits two millimetres off centre. In UV printing, the object lies loose on the print table, and the printer does not initially know where it is. How accurately the design lands depends on how you align the object and the file to each other. The origin point Every flatbed printer has an origin point, usually a corner of the print table. From there the software counts the position of your design. If the object lies exactly at this spot, the design also lands where you placed it in the software. This only works if the object has a fixed stop. A stop is an edge that you push the object against. It can be an acrylic angle, a piece of adhesive tape or a strip. What matters is that it does not move and always sits in the same place. A simple trick without tools: 1. Fix a piece of paper or card on the table 2. Print the outline of the object on it 3. Place the object exactly in the printed contour 4. Print the actual design Positioning with a camera Some machines have a built in camera, such as desktop machines like the eufyMake E1. The software then shows a photo of the print table, and you slide the design directly onto the object in the image. This is quick and convenient, especially for one off pieces. The camera has limits, though: on the E1 it works up to an object height of 60 mm; above that, the software guides you through a manual origin alignment. A few points to bear in mind: Calibrate the camera : After changing the print plate or after transport, the image can be slightly offset. The calibration is described in the manufacturer's manual. Perspective : Tall objects appear slightly shifted in the camera image because the camera looks at them at an angle. With flat parts this is barely noticeable. Series : For many identical parts, a jig is usually more accurate than realigning each time. Jigs A jig is a plate with cut outs into which the objects fit exactly. It sits fixed at the origin point. Each object thus has its fixed position, and you only have to insert the next one. Material Advantages Disadvantages Acrylic, laser cut very accurate, flat, quick to make laser needed, may reflect UV light Plywood or MDF, laser cut inexpensive, good for flat parts can warp with moisture 3D printed also for round or irregular shapes, holders with depth slow for large plates, check flatness Foam board, card quick, no machines less durable 3D printed holders are ideal for lighters, pens, golf balls or phone cases, which would roll away or tip over on a flat plate. You will find the basics in the 3D printing /3d druck/ section. What to watch out for: Dark, matt surface : Light coloured or reflective jigs can throw UV light back towards the print head. This can cure ink on the nozzle plate. Trade media and manufacturers therefore recommend dark, matt materials. Height matched to the object : The jig should not be higher than the printing surface of the object. Otherwise the printer measures the jig as the highest point. A little clearance : Plan the cut outs a fraction of a millimetre larger than the object so that it is easy to insert but does not wobble. File to match : Create a template in the software for each jig, with the positions of all the cut outs already entered. Height and print distance The print head only works sharply within a small distance from the surface. Mimaki, for example, recommends keeping the difference between the lowest and highest point of the printing surface below 1.5 mm. Larger differences lead to blur and ink mist. Many machines measure the height automatically. They go by the highest point . If several objects of different heights lie on the table, the flattest object comes out blurred. So print only objects of the same height per run, or equalise the height with spacers. Even a single object can cause problems: a curved phone case with a camera bump, a notebook with a raised corner. More on this under Blurred UV print and ink mist /uv druck/probleme/unscharf overspra"},{"t":"Post-processing 3D prints: sanding, filling, painting","k":"3D printing · Accessories","d":"Step by step from layer lines to a smooth, painted surface. With grit sizes, gluing, smoothing and a table by material.","u":"/en/3d-printing/accessories/post-processing-3d-prints/","x":"A print almost never comes off the bed looking the way it should in the end. Layer lines, support remnants and small gaps stand out especially when a part is painted or put on display. With sandpaper, filler and paint you can turn it into a surface that hardly looks 3D printed any more. Here is the order that has proven itself. Beforehand: less finishing through good settings Every layer line you do not print is one you do not have to sand away. A smaller layer height and a good orientation on the bed save a lot of work. For flat top surfaces the slicer also offers ironing: the nozzle passes once more over the top layer with a little material and smooths it. More on this under Holes in the top surface /3d druck/probleme/loecher oberseite/ . Step 1: remove supports Remove supports with pliers, a cutter or a deburring tool and take off the remnants roughly. How to do this cleanly, and how to set up supports so that they come off easily, is covered under Supports /3d druck/einstellungen/stuetzstrukturen/ . Step 2: sanding The starting grit depends on the layer height: Starting point Starting grit Layer height up to 0.2 mm about 150 Layer height from 0.3 mm or clearly uneven surfaces about 100 Then work through finer grits step by step, for example 220, 400, 600. Do not skip a step, otherwise the scratches of the coarser grit stay visible. Wet sanding is almost always better with plastic. The water cools and binds the dust. Dry, PLA quickly softens from the frictional heat and smears, PETG even more so. Use waterproof sandpaper, add a drop of washing up liquid to the water, sand in circular movements with light pressure and rinse off the sanding slurry from time to time. For flat surfaces use a sanding block, otherwise you round off edges. For curves and details, sanding sponges and files help. Sand fibre reinforced filaments with carbon or glass fibre only wet and with respiratory protection. Why is explained under 3D printing safety /3d druck/grundlagen/sicherheit/ . Step 3: filler and putty Deep gaps, seams and glue joints are closed with filler. For small spots, fine filler from model making or car supplies is enough. For larger areas, 2K filler is suitable, which hardens chemically and does not shrink afterwards. Apply thinly, let it cure and sand flush with 220 to 400. Step 4: filler primer A filler primer is a thick primer that fills fine layer lines. How to work with it: 1. Degrease the part, for example with isopropyl alcohol. 2. Spray two thin coats from a distance of about 15 to 20 cm. Several thin coats are better than one thick one, otherwise drips run and details disappear. 3. Let it dry, with the time given on the can. 4. Wet sand with 400. The primer stays in the recesses while the peaks are removed. 5. Repeat until no layer lines are visible. Before painting, wet sand with about 600. Grey primer shows flaws best. Step 5: painting Spray paint is the easy way. Acrylic paint from a can adheres well to a primer. Here too, several thin coats. Do not spray in high humidity or cold, and follow the manufacturer's information on processing temperature. An airbrush is worthwhile for figures, colour gradients and fine details. It needs a compressor, a gun and practice, but you save paint and have more control. Important with both: always apply solvent based paints outdoors or with good ventilation, and wear respiratory protection with a suitable filter. Step 6: clear coat Clear coat protects the paint from abrasion and UV. It comes in matt, satin and gloss. Two thin coats are usually enough. Make sure the paint and clear coat match, ideally from the same system. If in doubt, test on a sample piece whether the clear coat dissolves the paint. Gluing Before gluing, lightly sand the surfaces and degrease them with isopropyl alcohol. Superglue cyanoacrylate : fast, good for small parts made of PLA, ABS and ASA. With PETG it often holds less reliably. Gel superglue fills small gaps. An activator spray speeds up curing. 2K epoxy: f"},{"t":"Preparing for 3D Scanning: Spray, Markers, Turntable and Light","k":"3D printing · 3D scanning","d":"How to make dark, shiny and transparent parts scannable, place markers correctly, use a turntable and set up the lighting.","u":"/en/3d-printing/3d-scanning/preparing-3d-scans/","x":"A good scan is often decided before you press the first button. Matte, light surfaces are the easiest. Everything else can usually be solved with a bit of preparation. Clean the object Dust, fingerprints and grease interfere with capture. Clean the object beforehand. Place it on a surface that contrasts with it in colour. Dark, shiny and transparent surfaces Dark surfaces absorb a lot of light. This causes holes and inaccuracies. Einstar recommends setting the exposure to maximum for black objects. Shiny surfaces throw the light back uncontrollably. This causes noise and stray points that float above the object. Transparent parts let the light through. Without a coating they can hardly be captured with optical scanners. The solution is a thin, matte layer on the surface. Scanning spray Sublimating scanning spray evaporates by itself after a while and does not need to be washed off. A well known example is AESUB Blue. According to the manufacturer, you spray an even, thin layer from a distance of 15 to 20 cm and only scan once it is completely dry. According to AESUB, the layer lasts about 1 to 2 hours for scanning and has disappeared after around 4 hours. Variants with a longer hold time exist. Pay attention to safety. According to the safety data sheet, AESUB Blue is an extremely flammable aerosol and may cause drowsiness and dizziness. The manufacturer specifies: use only in well ventilated areas and do not inhale keep away from ignition sources, do not spray into flames wear safety glasses and gloves do not store above 50 °C Alternatives are dry shampoo, talcum powder, baby powder or foot spray. They are cheaper, but they do not evaporate and have to be wiped or brushed off after the scan. For delicate or valuable parts this is not a good choice. With some scanners you can do without spray. For their laser and infrared modes, Creality, Revopoint and Shining 3D state that dark or metallic surfaces often work without spray. Try it without first. Markers Markers are small, mostly round adhesive dots. They help the software to stitch the individual captures together when the object is smooth and uniform. In laser mode they are mandatory with almost all scanners. Shining 3D and Revopoint give the following rules: Distribute them evenly, but irregularly . No rows, no symmetrical patterns, no groups. At least 4 to 5 markers must be in the image at the same time. For the MetroX, Revopoint gives a spacing of about 6 to 7 cm. Small markers on edges and small surfaces, no markers on strongly curved surfaces. Do not use damaged or dirty markers. On large or delicate objects, first apply paper masking tape and put the markers on it. That way they are easy to remove. Instead of sticking markers on the object, you can also stick them on the surface or a turntable. Turntable For small objects a turntable is handy: the scanner stands on a tripod and the object rotates. Revopoint recommends one rotation per side and not rotating too slowly. Capturing the same spot several times does not make the scan better. For the underside and top, you turn the object over and scan again. The software then stitches the parts together. Some scanners, such as the Revopoint MetroX Pro, include a turntable in the box. Light Soft, even light is ideal. Direct sun or harsh lamps create reflections and shadows. Normal room light or daylight is usually enough. Some scanners have their own LEDs for colour capture. According to the manufacturer, some devices are designed for bright outdoor light, for example the Revopoint POP 4 up to 50,000 lux. Scanning people For people, Shining 3D recommends the order face, upper body, lower body. That way breathing, blinking and small movements have less effect. Infrared modes are suitable for people because they do not dazzle. According to Shining 3D, dark hair can be captured better with white baby powder. Sources AESUB: AESUB Blue https://aesub.com/en/products/aesub blue/ and downloads with safety data sheet https://aesub.com"},{"t":"Preparing laser files: vectors, text, kerf and photos","k":"Laser · Software & files","d":"Vector or pixel, SVG or DXF: how to prepare files for cutting and engraving, convert text to paths, compensate for kerf and get photos ready.","u":"/en/laser/software/prepare-laser-files/","x":"Many laser problems do not arise at the machine but in the file. Duplicate lines, open paths or a photo that is too dark lead to burnt edges, parts that do not fall out, or muddy engravings. Here you learn how to prepare files so that the laser does exactly what you want. Vector or pixel A vector file describes lines and shapes mathematically. It can be enlarged as much as you like without becoming blurry. The laser can follow vectors as a line cutting, scoring or fill them as an area engraving . A pixel file raster graphic consists of individual image points. Photos are always pixels. The laser can only engrave pixel images line by line, but cannot cut them. If you have a logo as a PNG and want to cut it out, you first have to convert it to vectors, for example with the trace function in Inkscape or LightBurn \"Trace Image\" . File formats Format Type Notes SVG Vector standard format for laser work, open, readable by almost any software DXF Vector from CAD programs, good for technical parts; check the unit of measurement on import AI Vector Adobe Illustrator; older versions import better than new ones PDF Vector and pixel can contain both; check what arrived after importing PNG Pixel lossless, supports transparency, good for graphics JPG Pixel compressed, usual for photos; compression artefacts get engraved too Check the size after every import. SVG files from different programs sometimes calculate with different resolutions, and the part then arrives too large or too small. Lines for cutting For a clean cut, the lines have to follow a few rules: Hairlines: The stroke width does not matter to the laser, it always follows the centre of the path. A thin line does show you more precisely on screen where it will cut, though. What matters is that cut lines have only an outline and no fill, otherwise the software may engrave the area as well. Closed paths: Parts that are supposed to fall out need a closed outline. In LightBurn you find open paths under \"Edit\" with \"Select open shapes\". Join gaps with \"Close Path\" or, in Inkscape, with the node tool. Remove duplicate lines: If two lines lie on top of each other, the laser cuts twice. That gives wider, more heavily burnt edges. In LightBurn you find the function \"Delete Duplicates\" under \"Edit\". Duplicate lines often arise when parts butt directly against each other or a file comes from a CAD program. Converting text to paths If you pass on a file containing text or open it on another computer, the font may be missing there. The software then replaces it with another one. So convert text to paths before exporting. In Inkscape this is done via \"Path\" and \"Object to Path\", in LightBurn with \"Convert to Path\". After that, the text can no longer be edited as text, so keep a copy with editable text. Bridges in stencil lettering When you cut out letters, the inner parts of A, O, B or R fall out. For stencils you therefore need bridges, small webs that connect the inner part to the rest. You can use a stencil font that already has these webs, or add bridges yourself. LightBurn has a Path Bridges function for this, with which you place webs at even intervals in the outlines. With wood, do not make the webs narrower than about 1 mm, otherwise they break or burn away completely. Kerf compensation for slot together joints When cutting, the laser removes a narrow track of material, the kerf. Depending on the machine, focus and material, it is often in the range of a few tenths of a millimetre. For decoration it hardly matters. For slot together joints and boxes with finger joints, however, the parts become smaller by this kerf, and the joint fits loosely. Here is how to compensate: 1. Cut a square with an edge length of exactly 20 mm from your material. 2. Measure the cut out part with callipers. If it is 19.8 mm, the kerf is 0.2 mm. 3. In LightBurn, enter a starting value of about half of that under \"Kerf Offset\" in the cut layer, here 0.1 mm. Positive values move the path outwards. The function "},{"t":"Preparing UV Print Files: Resolution, White, Varnish","k":"UV printing · Print files & workflow","d":"Which file format, which resolution, RGB or CMYK? And how do you set up the white mask and varnish channel correctly? The print file basics for UV printers.","u":"/en/uv-printing/workflow/preparing-uv-print-files/","x":"A UV printer does not only print colour, but often white and varnish too. Each of these layers needs its own information in the file. If you prepare the print files cleanly, you save on failed prints, material and time. Which file format? Format Good for Note PNG with transparency Photos, graphics, cut outs Transparent areas stay unprinted, and the software often generates the white mask from them automatically PDF Vector graphics, text, logos, files with spot colours Best format if white and varnish are set up as their own spot colours TIFF High quality photos, files with layers or an alpha channel Large files, not every printer software reads additional channels SVG Vector graphics Processed directly by some desktop programs JPG Quick photo prints No transparency, the background is printed too Vector data PDF, SVG is ideal for lettering and logos because it stays sharp at any size. Photos are always pixel images, so resolution is what matters. Resolution: 300 dpi at final size As a guide: 300 dpi at the actual print size . At normal viewing distance, the eye no longer sees individual pixels. For very fine designs such as stickers, badges or small text, some manufacturers recommend 400 to 600 dpi. The important words are \"final size\". An image of 1200 × 1800 pixels is enough for about 10 × 15 cm at 300 dpi. If you stretch it to A4 in the software, the effective resolution drops to around 150 dpi and the image becomes soft. Print size Pixels at 300 dpi rounded 5 × 5 cm 600 × 600 px 10 × 15 cm 1200 × 1800 px A4 21 × 29.7 cm 2500 × 3500 px Upscaling on the computer does not turn a small image into real detail. It is better to create it at the right size from the start or to get a larger image file. RGB or CMYK? The printer prints with CMYK plus white and varnish . Even so, you do not necessarily have to create your file in CMYK. The printer software or the RIP converts RGB data into the printing inks via a colour profile. RGB data : The software takes care of the conversion. This is the usual route with most desktop machines. CMYK data : You have more control, for example over pure black or exact corporate colours. In return, you have to know which profile the software expects. What matters is that you do not convert twice. Check your software's manual for which colour space is intended there. More on this in the article Colour management in UV printing /uv druck/workflow/farbmanagement/ . Setting up the white mask On dark, coloured or transparent material you need a white base layer so that the colours stand out. There are three ways to do this: 1. Automatically by the software : On many machines the software generates white wherever the design is not transparent. That is enough for most cut outs. 2. Own spot colour : In Illustrator, Affinity or Inkscape you put the white areas on their own layer and colour them with a spot colour. The software specifies the exact name. In Roland VersaWorks, for example, it is called RDG WHITE. If the name is wrong, the area is printed as a normal colour. 3. Own channel or own file : Some programs expect the white mask as a separate channel or as a second greyscale file. For photos on a dark background, a graduated white mask can make sense: plenty of white under light areas, little under dark ones. That way shadows do not look grey and milky. Setting up the varnish channel Varnish gloss is set up in the same way as white: as a spot colour, its own channel or automatically. On some machines the greyscale value in the varnish channel controls the layer height, which is the basis for relief effects. How this works is explained under Relief and texture /uv druck/grundlagen/relief textur/ . General information on varnish can be found under Varnish in UV printing /uv druck/tinten/lack/ . Cleaning up cut outs With PNG cut outs, semi transparent edge pixels often appear. The software still lays white underneath, and the result is a light, ragged edge. Check the edges after cutting out, ideally in the "},{"t":"Primer for UV printing: when you need it and which one","k":"UV printing · Inks & primers","d":"Primer makes UV ink adhere to glass, metal and smooth plastics. Which materials need it, which types exist, and how to apply it.","u":"/en/uv-printing/inks/uv-printing-primer/","x":"The print looks perfect, and after a few days you scratch it off with a fingernail. Almost always the cause is a lack of adhesion. Primer is a thin, clear layer that acts as a bridge between material and ink. On some materials it is mandatory, on others superfluous. What primer is for UV ink adheres best to surfaces that it can wet well. Smooth, dense materials such as glass, bare metal or certain plastics have a low surface energy or give the ink nothing to grip. The droplets then merely sit on top instead of bonding. Primer, also called an adhesion promoter, improves this bond. It raises the surface energy and itself forms a firm bond with the substrate and with the ink. A well chosen primer often also improves colour appearance, because the ink spreads more evenly. Primer does not replace clean preparation, though. Grease, fingerprints or release agents on the material prevent adhesion even with primer. Which materials need primer? Material Primer needed? Note Bare metal stainless steel, raw aluminium yes degrease thoroughly, metal or glass primer Anodised aluminium usually yes depends on the anodising, test Coated metal photo metal usually no coating is intended for printing Glass, glazed ceramic yes, always glass primer Acrylic often yes depends on the sheet, usually needed on smooth surfaces Untreated wood no wood accepts ink well Varnished or oiled wood test depends on the varnish ABS usually no test on glossy surfaces PP, PE yes, special primer very low surface energy Silicone hardly possible unreliable even with primer Leather usually no flexible ink matters more than primer This table is a guide. Plates, mugs and blanks differ depending on the supplier, even when they have the same name. You will find more detail for each material in the materials overview /uv druck/materialien/ . Which types of primer are there? Primer for glass and ceramic. For very smooth, mineral surfaces. Many glass primers also work on metal. Primer for metal. For stainless steel, aluminium, copper and powder coated surfaces. Some manufacturers combine metal and glass in one product. Primer for plastics. For acrylic, glossy ABS, polycarbonate. For PP and PE there are dedicated special primers, because normal plastic primers are often not enough there. Universal primer. Covers many materials reasonably well. Handy for getting started, but on difficult surfaces usually weaker than a suitable special primer. The safest choice is the primer that the manufacturer of your machine recommends for the material in question. Primer and ink are matched to each other. Applying primer There are four common ways: Wipe or wipes: Pre soaked disposable wipes or a lint free cloth with liquid primer. Good for individual objects. Primer pen: For small areas and curves. Clean, but laborious for large areas. Spraying: For larger areas and series. Even, but you need ventilation and masking. Printing it along: Some machines have their own primer channel and print it only where ink will land later. This is how to proceed when applying by hand: 1. Degrease the surface with isopropyl alcohol and a lint free cloth, wiping in one direction. Wear gloves. 2. Apply primer thinly and evenly, wiping in one direction. Go slightly beyond the later print area so that the edges definitely lie on primer. 3. Let it flash off until the surface is no longer tacky. The time is stated on the product, often a few minutes. 4. Print promptly. Many primers lose effectiveness after a certain time. Too much primer is a common mistake. A thick layer stays soft, forms streaks or shines visibly next to the design. Thin is better. Primer is a chemical. Ventilate, wear gloves and read the safety data sheet. More on this in UV safety /uv druck/grundlagen/uv sicherheit/ . Testing adhesion Whether the primer works only shows after printing. After printing, wait at least half an hour, preferably longer, because adhesion still increases. Tape test. Rub a piece of strong adhesive tape firmly onto the prin"},{"t":"Print speed: how fast can I print?","k":"3D printing · Settings","d":"Why volumetric flow and acceleration set the limit rather than the mm/s figure, how to work out your speed limit and what 500 mm/s really means.","u":"/en/3d-printing/settings/print-speed/","x":"Many printers advertise 500 mm/s or more. Even so, a print often takes longer than expected, and anyone who simply turns up the speed gets gaps, rough walls or a clogged nozzle. The reason: the speed in the slicer is only one of several limits, and usually not the decisive one. Speed and acceleration The speed in mm/s is the maximum speed the print head may reach along a line. The acceleration in mm/s² determines how quickly it reaches that speed and brakes again. On small parts with short lines, the head often never reaches the set speed. It accelerates but has to brake again before the next corner arrives. That is why a higher acceleration brings more than a higher speed on small, detailed parts. For context: the default profiles of fast CoreXY printers work with accelerations around 10,000 mm/s², often half of that for outer walls. Older bed slingers are well below that. How much the design limits this is explained in Bed slinger or CoreXY /3d druck/grundlagen/bettschubser oder corexy/ . High accelerations create vibrations that become visible as waves on the surface. Input shaping helps against this, more in Ghosting /3d druck/probleme/ghosting/ . The real limit: volumetric flow The hotend can only melt a certain amount of plastic per second. This amount is called volumetric flow and is given in mm³/s. Once it is reached, a higher speed no longer helps. The filament is no longer fully melted, material is missing and, in the worst case, the extruder slips. You calculate the volumetric flow of a line like this: Volumetric flow = line width × layer height × speed Worked example You print with a 0.4 mm nozzle, 0.45 mm line width and 0.2 mm layer height: at 100 mm/s: 0.45 × 0.2 × 100 = 9 mm³/s at 200 mm/s: 0.45 × 0.2 × 200 = 18 mm³/s at 300 mm/s: 0.45 × 0.2 × 300 = 27 mm³/s It also works the other way round. If your hotend manages 15 mm³/s, the maximum speed at these values is 15 ÷ 0.45 × 0.2 ≈ 167 mm/s. At 0.28 mm layer height it is only about 119 mm/s. Thicker layers and wider lines therefore need more volumetric flow at the same speed. More in Choosing the right layer height /3d druck/einstellungen/layerhoehe/ . Typical hotend limits Hotend type Volumetric flow rough Classic standard hotend about 10 to 15 mm³/s Current hotends of fast printers about 20 to 30 mm³/s High flow hotends and nozzles about 25 to 40 mm³/s, some more These are rough values. The actual volumetric flow depends on the material, the temperature, the nozzle and even the colour. The basic profiles in OrcaSlicer cautiously assume 12 mm³/s for many materials and only about 3 mm³/s for TPU. Manufacturer profiles for fast printers are often considerably higher for PLA. Check the values for your machine in the manufacturer's documentation or measure them yourself. Measuring volumetric flow yourself OrcaSlicer has its own test for this. It prints an object in which the volumetric flow increases with height. You look at which height the surface gets worse, for example matt instead of glossy or with gaps, and work out the value from that. The OrcaSlicer documentation recommends subtracting a further 10 to 20 % from the result. How the tests work is explained in Calibrating a 3D printer /3d druck/einstellungen/kalibrieren/ . If you enter the value in the filament profile, the slicer automatically slows down wherever it would be exceeded. That is the safest way to print fast without risking underextrusion. Not everything at the same speed The slicer uses its own speed for each line type. There are good reasons for this: Area Speed Why First layer slow, often 20 to 50 mm/s better adhesion Outer wall slower than inner walls visible surface, accurate dimensions Inner walls, infill fast invisible, only volumetric flow counts Overhangs, bridges slow material needs time to cool Top surface layer medium smooth surface As an example: a default profile of a fast CoreXY printer uses 200 mm/s for outer walls and 300 mm/s for inner walls. If the surface matters more to you than"},{"t":"Print will not come off the print bed: removing it safely","k":"3D printing · Troubleshooting","d":"Is your print stuck fast? Why it happens, how to release it without damaging the plate, and which plate suits which material.","u":"/en/3d-printing/troubleshooting/print-stuck-to-bed/","x":"Usually the problem is that a print does not stick. Sometimes it is exactly the other way round: the part sits so firmly that it will not come loose even after cooling. If you then pull with force or lever with a scraper, you risk scratches, torn off pieces of the coating or a broken part. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 260\" role=\"img\" aria label=\"Torn off by force: the print rips a piece of the coating out of the plate\" <text class=\"t\" x=\"16\" y=\"26\" Pulled with force</text <path class=\"plate\" d=\"M16 196H170V204H232V196H324V214H16Z\"/ <path class=\"bad\" stroke width=\"2\" d=\"M170 196V204H232V196\"/ <g transform=\"rotate 14 70 196 \" <rect class=\"plate\" x=\"170\" y=\"196\" width=\"62\" height=\"8\"/ <path class=\"bad\" stroke width=\"2\" d=\"M170 196V204H232V196\"/ <rect class=\"part\" x=\"70\" y=\"156\" width=\"170\" height=\"40\" rx=\"1\"/ <path class=\"layer\" d=\"M70 166H240M70 176H240M70 186H240\"/ </g <path class=\"ink\" stroke width=\"1.8\" d=\"M262 130V90M256 98L262 88L268 98\"/ <text class=\"s\" x=\"276\" y=\"104\" pull</text <text class=\"s bad t\" x=\"170\" y=\"246\" text anchor=\"middle\" Coating tears out too</text </svg <svg viewBox=\"0 0 340 260\" role=\"img\" aria label=\"Goal: the spring steel plate is bent slightly, and the rigid part releases from the ends by itself\" <text class=\"t\" x=\"16\" y=\"26\" Goal: bend the plate slightly</text <path class=\"plate\" d=\"M30 170Q170 250 310 170V184Q170 264 30 184Z\"/ <rect class=\"part\" x=\"80\" y=\"170\" width=\"180\" height=\"40\" rx=\"1\"/ <path class=\"layer\" d=\"M80 180H260M80 190H260M80 200H260\"/ <path class=\"ink\" stroke width=\"1.8\" d=\"M30 222V196M24 204L30 194L36 204M310 222V196M304 204L310 194L316 204\"/ <text class=\"s good t\" x=\"170\" y=\"246\" text anchor=\"middle\" Part releases at the ends</text <text class=\"s\" x=\"170\" y=\"150\" text anchor=\"middle\" Part stays straight</text </svg </div <figcaption Schematic illustration. On the left, a firmly stuck print is pulled off with force and takes a piece of the coating with it. On the right, the cooled spring steel plate is bent slightly, and the rigid part releases by itself.</figcaption </figure Why does the print stick too well? Material and plate do not go together The most common reason is PETG on smooth PEI. PETG bonds very strongly to smooth PEI surfaces. In the worst case, the print rips pieces out of the coating when you release it. Some TPU types behave similarly. In its guide to preparing the plate, Prusa shows a steel sheet damaged by a PETG print and recommends a release layer for such combinations. Z offset too low If the nozzle is too close to the bed in the first layer, the material is literally pressed into the surface. On textured plates it then fills every depression and digs in. Typical sign: the underside is wafer thin and glossy, and an elephant's foot /3d druck/probleme/elefantenfuss/ forms at the edges. Bed too hot A bed well above the manufacturer's figure increases adhesion, especially with PETG. If the temperature is at the upper end, it is worth going down by 5 to 10 degrees. Large, flat contact area The larger the area, the stronger the adhesion overall. A large, flat plate made of PETG holds much more firmly than a small part made of the same material. Releasing the print safely 1. Let it cool Most prints come loose a little by themselves as they cool, because plastic and plate shrink by different amounts. Let the plate cool completely to room temperature. With large parts this can easily take half an hour. Patience is cheaper here than a new plate. 2. Bend the spring steel plate With magnetic spring steel plates, take the plate off and bend it slightly, first in one direction, then in the other. Prusa recommends exactly this as the standard method, without a scraper. Important: only bend it slightly. A kink is permanent and the plate will no longer lie flat afterwards. 3. Carefully with the scraper If bending is not enough, place a flat plastic scraper at a corner, as flat to the plate as possible. Do not lever, but slowly slide it under t"},{"t":"Printed houses, rockets and organs: what 3D printing can do today","k":"3D printing · Trivia & knowledge","d":"Houses made of concrete, rockets made of metal, ears made of cells: documented examples of what 3D printing already achieves today and where the limits lie.","u":"/en/3d-printing/knowledge/amazing-3d-printing-applications/","x":"Your printer makes brackets, figures and spare parts. In industry and research, the same basic principle is used to print entirely different things: homes, rockets, bridges and even implants made of living cells. Here are documented examples, each with the year, and an honest assessment of which of them are everyday reality and which are still research. Houses from the printer In 3D printed construction, a large gantry printer travels across the building site and deposits a special concrete or mortar layer by layer, much as your printer does with filament. Germany's first printed home is in Beckum in North Rhine Westphalia. Printing began in 2020, and the house was officially opened on 26 July 2021. It has two storeys and around 160 m² of living space. It was printed by a BOD2 printer from the Danish manufacturer COBOD, carried out by the company PERI. The printer needed about five minutes per square metre of double skin wall. The state of NRW funded the project with almost €200,000. An important point for context: mainly the walls are printed. The foundations, roof, windows and building services are still built in the conventional way. Space and aviation Here, 3D printing is long past being a gimmick and is series production. Printing is mostly done from metal powder, which a laser fuses layer by layer. GE fuel nozzle from 2015 : For the LEAP aircraft engine, GE prints a fuel nozzle as a single part that used to consist of 20 welded individual parts. According to GE, it is 25 % lighter and five times more durable. By October 2018, more than 30,000 had been printed. SpaceX SuperDraco 2014 : The combustion chamber of the SuperDraco engine for the Dragon 2 space capsule is printed from the nickel alloy Inconel. By July 2014, the printed combustion chamber had run more than 80 times in testing. Relativity Space Terran 1 2023 : On 22 March 2023, the Terran 1 rocket launched, about 85 % of whose mass consisted of printed parts. It survived the launch and stage separation but did not reach orbit. The flight nevertheless showed that a largely printed rocket withstands the loads of launch. Medicine Prostheses and implants Implants from the printer have arrived in medicine. One well known early example: in 2011, an 83 year old patient in the Netherlands received a complete lower jaw made of titanium, printed by the Belgian company LayerWise. Guinness lists it as the first printed complete lower jaw. According to the report, the woman was able to speak and swallow again one day after the operation. The big advantage: a printed implant can be adapted exactly to a person's anatomy, based on CT data. Bioprinting: ears yes, organs not yet In bioprinting, you do not print with plastic or metal but with a \"bio ink\" containing living cells. In March 2022, a 20 year old woman in the USA received an ear implant printed from her own cartilage cells. She had been born with a malformation of the ear microtia . The implant, called AuriNovo, comes from the company 3DBio Therapeutics and is being studied in a clinical trial with eleven patients. How well such implants last in the long term is therefore still open. Whole organs such as kidney, liver or heart, on the other hand, cannot yet be printed and transplanted. The biggest hurdle is the blood vessels: an organ needs a finely branched network from large arteries down to tiny capillaries, otherwise the cells inside die. The researcher Anthony Atala of the Wake Forest Institute for Regenerative Medicine describes exactly this problem as what research has been working on for decades. Headlines about \"printed organs\" usually mean small pieces of tissue in the laboratory. Food Food can be printed too. In September 2023, the first printed food reached a supermarket: the Austrian start up Revo Foods launched a vegan salmon alternative in Vienna. It consists of mycoprotein from fungi , pea protein and algae, among other things. Printing ensures that the layers resemble the fibrous structure of fish. Bridg"},{"t":"Printing ABS: settings, enclosure, ventilation and smoothing","k":"3D printing · Filaments","d":"How to print ABS successfully: temperatures, why an enclosure helps so much, how to avoid warping, what to consider with fumes and how acetone smoothing works.","u":"/en/3d-printing/filaments/abs/","x":"ABS is a classic engineering plastic. LEGO bricks and many household appliance housings are made of it, for example. In 3D printing it is popular because it is heat resistant, can be post processed well and can be smoothed with acetone. In return, it places greater demands on the printer and the environment than PLA or PETG. Settings at a glance Setting Guide value Nozzle temperature 240 to 260 °C Bed temperature 90 to 110 °C Part cooling low, 0 to 30 % Enclosure strongly recommended Build plate PEI, with glue stick if needed The values on the spool take priority. Why an enclosure helps so much ABS shrinks more than PLA or PETG as it cools. When the upper layers cool, they pull on the lower ones and the corners lift from the bed. With large parts, individual layers also split apart. An enclosed printer keeps the heat in the build chamber and prevents draughts. This is the most important lever against warping /3d druck/probleme/warping/ . With an open printer, small ABS parts sometimes work, but large parts hardly ever do so reliably. You will find an overview of suitable machines under Enclosed printers /3d druck/drucker/geschlossene/ . Tip: Let the bed heat up for 10 to 15 minutes before printing so that the build chamber is warm. Fumes and ventilation Printing ABS produces styrene fumes and very fine particles. The smell is clearly noticeable. Do not print in the bedroom or a child's room Ensure good ventilation , for example by airing regularly, without direct draughts on the printer A printer with an activated carbon or HEPA filter or extraction to the outside significantly reduces exposure What ABS is good for Parts that get warm: dimensionally stable up to around 90 to 100 °C, for example inside a car or on appliances Mechanically stressed parts: tougher than PLA Parts that are post processed: can be sanded, drilled and glued well Smooth surfaces: through acetone smoothing For parts that stand outdoors in the sun, ABS is less suitable because it yellows and becomes brittle. For that there is ASA /3d druck/filamente/asa/ . Acetone smoothing ABS dissolves slightly in acetone. If you expose a part to acetone vapour, the surface melts slightly and the layer lines disappear. The result is a smooth, glossy surface. Important: Acetone is highly flammable and the fumes are harmful to health. Work only outdoors or with very good ventilation, with no open flames and no heat sources nearby, and observe the acetone manufacturer's instructions. Small details and edges become softer when smoothed. Typical problems Problem Common cause Solution Corners lift Draughts, bed too cold Enclosure, raise bed temperature, brim Cracks between layers Build chamber too cold, too much cooling Preheat the chamber, reduce the fan Poor adhesion Plate dirty Clean it, apply a thin layer of glue stick Rough surface, crackling Damp filament Dry at 70 to 80 °C ABS compared How ABS compares with PLA, PETG, ASA and TPU is shown in the filament overview /3d druck/filamente/ ."},{"t":"Printing ASA: the filament for outdoor parts","k":"3D printing · Filaments","d":"ASA resists UV and weather, which makes it the first choice for outdoor parts. Settings, differences from ABS, typical uses and printing tips.","u":"/en/3d-printing/filaments/asa/","x":"ASA is closely related to ABS but has one decisive advantage: it withstands sun and weather. While ABS yellows and becomes brittle outdoors after a while, ASA stays colour stable and strong for much longer. If you print parts for the garden, balcony, car or the outside of the house, there is hardly a way around ASA. Settings at a glance Setting Guide value Nozzle temperature 240 to 260 °C Bed temperature 90 to 110 °C Part cooling low, 0 to 30 % Enclosure strongly recommended Build plate PEI, with glue stick if needed The values on the spool take priority. ASA or ABS? ABS ASA UV and weather resistance low high Heat resistance around 90 to 100 °C around 90 to 100 °C Printing behaviour demanding similar, often slightly less warping Acetone smoothing very good possible, often less even Price usually slightly cheaper usually slightly more expensive Rule of thumb: If the part stays indoors, ABS is enough. If it goes outside, use ASA. Typical uses Brackets and covers on the house and in the garden Car parts, for example clips, trims or holders Housings for sensors, cameras or electronics outdoors Plant labels, clamps, spare parts for garden furniture What to watch out for when printing Enclosure and heat: Like ABS, ASA shrinks as it cools. An enclosed printer prevents warping and layer cracks. You will find suitable machines under Enclosed printers /3d druck/drucker/geschlossene/ . Fumes: ASA also gives off fumes while printing. Ventilation or a printer with a filter makes sense; bedrooms and children's rooms are not a good place for it. Adhesion: Clean the plate thoroughly and use a brim for large parts. More tips in the article Warping /3d druck/probleme/warping/ . Drying: ASA absorbs less moisture than nylon or TPU but still benefits from dry storage. Guide value for drying: 70 to 80 °C for 4 to 6 hours. ASA compared How ASA compares with PLA, PETG, ABS and TPU is shown in the filament overview /3d druck/filamente/ . All the details on ABS are in the article Printing ABS /3d druck/filamente/abs/ ."},{"t":"Printing Bridges: When Bridges Sag","k":"3D printing · Troubleshooting","d":"Bridges sagging or breaking? Which fan, speed and flow settings help, how long bridges can be and when supports are better.","u":"/en/3d-printing/troubleshooting/bridging/","x":"A bridge is a straight stretch that the printer prints freely in mid air between two points of support, for example over a door, a window or a recess. This works surprisingly well, but not always: the lines sag, break off or form a wavy, stringy surface on the underside. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Bridge sags: the freely printed line between two supports droops in the middle\" <text class=\"t\" x=\"16\" y=\"26\" Bridge sags</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"40\" y=\"140\" width=\"60\" height=\"100\" rx=\"1\"/ <rect class=\"part\" x=\"240\" y=\"140\" width=\"60\" height=\"100\" rx=\"1\"/ <path class=\"layer\" d=\"M40 156H100M40 172H100M40 188H100M40 204H100M40 220H100M240 156H300M240 172H300M240 188H300M240 204H300M240 220H300\"/ <path class=\"fil\" stroke width=\"6\" stroke linecap=\"round\" d=\"M96 143Q170 214 244 143\"/ <text class=\"s bad t\" x=\"170\" y=\"206\" text anchor=\"middle\" cools too slowly</text <text class=\"s bad t\" x=\"170\" y=\"274\" text anchor=\"middle\" line droops in the middle</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Goal: the fan cools the bridge line immediately, it stays straight\" <text class=\"t\" x=\"16\" y=\"26\" Goal: straight bridge</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"40\" y=\"140\" width=\"60\" height=\"100\" rx=\"1\"/ <rect class=\"part\" x=\"240\" y=\"140\" width=\"60\" height=\"100\" rx=\"1\"/ <path class=\"layer\" d=\"M40 156H100M40 172H100M40 188H100M40 204H100M40 220H100M240 156H300M240 172H300M240 188H300M240 204H300M240 220H300\"/ <path class=\"fil\" stroke width=\"6\" stroke linecap=\"round\" d=\"M96 143H244\"/ <path class=\"ink\" stroke width=\"1.8\" d=\"M135 92V124M129 116L135 126L141 116M170 92V124M164 116L170 126L176 116M205 92V124M199 116L205 126L211 116\"/ <text class=\"s\" x=\"170\" y=\"80\" text anchor=\"middle\" fan cools at once</text <text class=\"s good t\" x=\"170\" y=\"206\" text anchor=\"middle\" sets in time</text <text class=\"s good t\" x=\"170\" y=\"274\" text anchor=\"middle\" line stays straight</text </svg </div <figcaption Schematic illustration. On the left, the freely printed line sets too slowly and sags between the points of support. On the right, the fan cools it immediately and it supports itself.</figcaption </figure How do you recognise bad bridges? Sagging lines in the middle of the bridge, the underside is curved instead of straight. Broken or loose strands dangling downwards. Gaps between the individual bridge lines. Uneven surface above the bridge , because the next layers sit on a poor base. Why do bridges sag? The plastic comes out of the nozzle liquid and has nothing beneath it. It has to solidify quickly enough to carry its own weight. If it does not, it sags. Three things decide this: how fast it cools, how much material is in the line and how strongly the line is stretched in the process. The bridge settings in the slicer All common slicers detect bridges automatically and print them with their own values. The default profiles are usually a good start. If bridges still turn out badly, these are the adjustments to try. Fan Cooling is the most important factor. The line has to solidify before it sags. PLA: part cooling fan at 100 % for bridges. The Prusa profiles do it this way. PETG: somewhat less, the Prusa profiles use 50 %. Too much cooling can weaken layer adhesion. ABS, ASA: much less, 25 % in the Prusa profiles. Too much air here leads to cracks and warping. If cooling is poor, Bambu Lab also advises lowering the nozzle temperature slightly and, where fitted, running an auxiliary fan harder. More on this in Cooling /3d druck/einstellungen/kuehlung/ . Speed Slower is not automatically better. Printed too slowly, the line has no support for too long and sags. Too fast, and it breaks. Depending on printer and material, the Prusa profiles mostly print bridges at 20 to 40 mm/s. Bambu Lab names both directions: if the bridge sags, print a little faster. If it break"},{"t":"Printing lithophanes: photos that glow when backlit","k":"3D printing · Settings","d":"How lithophanes work, which generators exist and which settings matter: layer height, 100 % infill, orientation, white material and lighting.","u":"/en/3d-printing/settings/lithophane/","x":"A lithophane is a thin plate whose thickness follows the brightness values of a photo. Thick areas let little light through and look dark, thin areas glow brightly. Without light behind it you can hardly see anything; with light, the picture appears. For a good result the main things are: white or very light PLA , printed completely solid 100 % infill , a fine layer height of around 0.1 mm and an even light source behind it. How it works The principle dates from the 19th century, when thin porcelain was used. In 3D printing, a light coloured plastic takes over this role. The thicker the spot, the more light is absorbed or scattered. For typical lithophanes, QIDI gives a thickness range of about 0.8 to 3.2 mm. In Cura, UltiMaker recommends a relief height of 2 to 3 mm above a thin, solid base plate if the thick areas should still let a little light through. From photo to model 1. Prepare the image UltiMaker gives these tips: Convert to black and white: This shows you in advance how the result will look. Some colours look almost identical in greyscale. Increase the contrast: Slightly stronger contrast strengthens the effect. Crop: Leave out unimportant areas. Very large, detailed images take a long time in the slicer. Add a dark border: An even dark frame makes the part more stable, makes it easier to remove from the build plate and fits better into frames or lamps. According to UltiMaker, portraits, animals, landscapes and ultrasound images work well. 2. Generate the model Tool Type Notable feature UltiMaker Cura built into the slicer open the image directly, flat plate ItsLitho online many shapes such as plate, arch, cylinder, lampshade, also coloured lithophanes 3dp.rocks Lithophane in the browser free image to lithophane converter, also runs offline according to the provider Lithophane Maker online Bambu Lab uses it in its guide for coloured lithophanes Make My Lithophane from Bambu Lab online on MakerWorld and in the Bambu mobile app single colour or coloured, delivers a ready configured 3MF file for Bambu Lab printers In Cura you open the image like a model. In the window that opens, you set the following, according to UltiMaker: Height: Height of the relief above the base plate, 2 to 3 mm for lithophanes. Base: Thickness of the solid base plate. At least 1 to 2 layers; too many reduce contrast and light transmission. Darker is higher: Dark areas of the image become thicker. For lithophanes this is the right setting. Color model: \"Translucency\" is intended for lithophanes. Smoothing: smooths edges, but costs contrast and accuracy. The most important settings Setting Guide value Source Layer height 0.1 to 0.12 mm QIDI First layer 0.1 to 0.2 mm UltiMaker Infill 100 %, alternatively top layers at least half as thick as the part UltiMaker Nozzle 0.4 mm is decent, 0.25 mm more detail, 0.6 and 0.8 mm only for large images with little detail UltiMaker Line width close to the nozzle diameter UltiMaker Speed slow, 30 to 45 mm/s for plates printed upright QIDI Adhesion brim UltiMaker, QIDI Detect thin walls off, so the lightest, thinnest areas are not dropped QIDI Why 100 % infill? Every gap on the inside is visible when backlit. QIDI describes how even small voids show through as stripes or moiré patterns. After slicing, check in the preview that no infill pattern is generated and that the layers are solid. More on layer height is in Choosing the right layer height /3d druck/einstellungen/layerhoehe/ , more on infill in Setting up infill /3d druck/einstellungen/infill/ . Print flat or upright? Orientation Advantage Disadvantage Flat on the bed stable, prints reliably detail limited by the nozzle's line width Upright detail determined by the layer height, so finer tall, thin plate can wobble, tip over or come loose By default Cura lays image lithophanes flat, because according to UltiMaker that gives the best chance of success. Upright, it becomes more detailed but unstable. For plates printed upright, QIDI recommends: aligning the "},{"t":"Printing nylon (PA): drying, temperatures, chamber and adhesion","k":"3D printing · Filaments","d":"Nylon is tough and heat-resistant but demanding. What sets PA6, PA12 and PA-CF apart, why drying is a must, and which settings suit.","u":"/en/3d-printing/filaments/nylon/","x":"Nylon, chemically polyamide or PA for short, is one of the toughest materials in FDM printing. Gears, hinges, clips and brackets that get warm are typical uses. In return, nylon has two big weaknesses: it absorbs water from the air extremely quickly, and it warps badly. Settings at a glance Setting Guide value Nozzle temperature 250 to 300 °C, depending on type Bed temperature 90 to 120 °C Part cooling low, 0 to 30 % Chamber enclosed, ideally actively heated Build plate textured PEI or special plate, with glue stick Drying around 80 °C, 8 to 12 hours The values on the spool take priority. The ranges between manufacturers are wider for nylon than for PLA or PETG. PA6, PA12 and PA CF: the differences \"Nylon\" is a collective term. In the shops you will mainly come across three groups: PA6 and related types such as PA66 : very tough, stiff and heat resistant when dry. But it absorbs the most water, 3 to 9 % of its weight depending on the source. Damp PA6 becomes softer and changes its dimensions slightly. PA12 and PA11 : absorbs significantly less water, often under 1 %. Slightly less stiff and heat resistant than PA6, but more dimensionally stable in a humid environment and somewhat easier to print. PA CF and PA GF : nylon with short carbon or glass fibres. The fibres make the part stiffer and noticeably reduce warping. For this you need a hardened nozzle. More on this in the article Carbon and glass fibre filaments /3d druck/filamente/faserverstaerkte filamente/ . To get started with nylon, a fibre reinforced type is often a better choice than plain PA6, because it warps much less. Moisture: dry before every print Nylon is strongly hygroscopic. According to Prusa it can absorb up to 10 % of its weight in water. Even a few hours open in the room are enough for print quality to suffer noticeably. You recognise damp nylon by: crackling and hissing at the nozzle bubbles and a rough surface a lot of stringing parts that snap brittlely instead of bending Rule of thumb: dry nylon before every print and print straight from a dry box or filament dryer. Manufacturers usually state around 80 °C for 8 to 12 hours, and Prusa gives at least 4 hours below 90 °C. Many cheap dryers do not reach these temperatures. Everything else on methods and storage is in the article Drying filament /3d druck/filamente/trocknen/ . The finished part also absorbs water again later. That is normal: it becomes somewhat softer and tougher as a result. Temperatures Nylon needs a hot nozzle. Prusa gives 285 °C for its PA, and manufacturers of PA6 CF state 260 to 300 °C. PA12 types often get by with a little less. Many entry level printers are limited to 260 to 300 °C. Check beforehand whether your hotend can sustain the temperature and whether the nozzle and heatbreak are designed for it. The bed runs at 90 to 120 °C. Part cooling stays low or off, otherwise layer adhesion suffers. Chamber: why it is hard to manage without Plain nylon shrinks heavily as it cools. The result is warping: corners lift, large parts come away from the bed entirely, and cracks form between the layers. Open printer: small parts in PA CF often work, plain PA6 hardly. Enclosed printer: significantly better, let the chamber heat up before printing. Actively heated chamber: the most reliable solution for larger parts. Which machines have one is shown in the overview Printers with a heated chamber /3d druck/drucker/beheizte kammer/ . Nylon also gives off odour and ultrafine particles while printing. An enclosure with a filter or good ventilation makes sense. Build plate and adhesion On smooth PEI, nylon often either sticks badly or so strongly that it can damage the coating. What has proved its worth: 1. Textured PEI plate or a plate made specially for engineering materials 2. Thin film of glue stick as an adhesion promoter and release layer. It provides grip and protects the surface. 3. Brim 5 to 10 mm wide for anything larger than a few centimetres 4. First layer slow and well pressed down Ty"},{"t":"Printing on Acrylic and Glass: Front, Back and Double-Sided","k":"UV printing · Materials","d":"How to UV print on acrylic and glass: front and reverse printing, the right order of colour and white, primer, protective film, static charge and standees.","u":"/en/uv-printing/materials/printing-on-acrylic-and-glass/","x":"Transparent materials have a special advantage: you can print on them from behind. The design then sits protected under the sheet and looks deep and glossy through the material. For this to work, the order of the layers, mirroring and adhesion have to be right. Front printing, reverse printing, double sided Variant Order File Effect Front printing white, then colour normal colour on top, can be felt Reverse printing colour, then white mirrored colour behind glass, glossy and protected Visible from both sides colour, white, colour one side mirrored design visible from both sides Without white colour only depending on the side translucent, like stained glass Front printing is like on any other material. Without white underneath, the colours stay translucent. Reverse printing printing behind glass is the most popular variant for photos on acrylic and glass. The file is mirrored horizontally, because you will later view it from the other side. The colour goes onto the sheet first, then white as a cover behind it. That way, looking through the material from the front, you see the colour first. If you swap the order, you only see a white surface. Visible from both sides works with a sandwich of colour, white and colour again. This is typical for acrylic standees that should look good from both sides. Because the two colour layers are mirror images of each other, you need two matching layers in the software. More on layer logic in Colour layers /uv druck/grundlagen/farbschichten/ . Glass: it does not work without primer Glass is one of the smoothest surfaces there is. UV ink can look good at first and later peel off in shreds. That is why on glass the following always applies: 1. Clean thoroughly with isopropanol and a lint free cloth, let it dry. 2. Apply glass primer thinly and let it flash off. 3. Print promptly. 4. After printing, allow time to cure and only then test. On mirrors the same applies to the glass side. The mirror coating on the back is delicate and should not come into contact with solvents. More on primer types in the article on primer /uv druck/tinten/primer/ . Acrylic: film, dust and static Acrylic holds ink better than glass, but depending on the sheet not always well enough. Many manufacturers offer their own acrylic primer. First do a test without primer using adhesive tape. If the print holds, you can do without it. Typical pitfalls with acrylic: Protective film: acrylic sheets often have film on both sides. Clear transparent films are easy to overlook. If you print on the film, you pull the design off with it later. Check corners and edges. Static charge: when you peel off the film, the sheet becomes charged and attracts dust. Every speck of dust becomes visible in the print. An ionising blower neutralises the charge without leaving a film. Peel off the film only just before printing. Overspray: statically charged sheets can attract fine ink mist. This looks like a grey haze next to the design. More on this in Blurry and overspray /uv druck/probleme/unscharf overspray/ . Cleaning: some types of acrylic react sensitively to high percentage alcohol and develop fine cracks. Follow the sheet supplier's recommendation. No flame treatment: acrylic is combustible. Flame treatment is not an option here. Edge sharpness and detail On transparent material every blurred edge is noticed immediately, because the background stays clear. For sharp edges: distance between print head and sheet as small as the manufacturer recommends lay the sheet flat, fix thin sheets in place if necessary make the white minimally smaller than the colour often only fractions of a millimetre , so that no white edge shows through at the front in reverse printing The exact underfill depends on the machine and positioning accuracy. A test print shows whether an edge is visible. Acrylic standees Standees with a foot, keyrings and character figures made of acrylic are a typical product for small shops. Usually you print first and then cut with the l"},{"t":"Printing PETG: settings, tips and typical problems","k":"3D printing · Filaments","d":"How to print PETG cleanly: temperatures, cooling, adhesion, avoiding strings and what this tough material is especially suited for.","u":"/en/3d-printing/filaments/petg/","x":"PETG is the robust everyday plastic among filaments. It is tougher and more heat resistant than PLA, yet it can still be printed without an enclosure. In return it is a little more temperamental: it likes to string and sometimes sticks too well. Settings at a glance Setting Guide value Nozzle temperature 230 to 250 °C Bed temperature 70 to 85 °C Part cooling 30 to 60 %, more for overhangs Enclosure not needed Build plate textured PEI is ideal, use a release agent on smooth PEI The values on the spool take priority. For the exact value, a temperature tower /3d druck/einstellungen/drucktemperatur/ is worthwhile. What PETG is good for Functional parts: brackets, housings, clips that have to withstand something Warmer environments: dimensionally stable up to around 70 to 80 °C, considerably more than PLA Moisture and mild chemicals: good resistance, for example for parts in the bathroom or workshop Transparent parts: clear PETG becomes slightly translucent at high infill and slow speed For parts that stand permanently in the sun, ASA /3d druck/filamente/asa/ is more durable. The two typical PETG problems Strings between parts PETG is naturally prone to stringing. The most important countermeasures: 1. Dry it: Damp PETG strings considerably more. More on this in Drying and storing filament /3d druck/filamente/trocknen/ . 2. Lower the temperature: in 5 degree steps, as long as the layers still hold together well. 3. Check retraction: with direct drive, usually 0.5 to 1.5 mm. A few fine hairs are normal with PETG and can be removed in seconds with a heat gun. More on this in the article Stringing /3d druck/probleme/stringing/ . Adhesion that is too strong On smooth PEI plates, PETG can stick so strongly that it tears pieces out of the coating when removed. Remedies: Apply glue stick thinly. Here it acts as a release layer, not as an adhesive. Use a textured plate , where PETG usually comes off easily after cooling. Let it cool before you remove the part. More tips Do not squash the first layer too hard. PETG likes a little more distance than PLA. If it is squashed too much, material sticks to the nozzle and spreads as blobs. Keep the nozzle clean. PETG likes to stick to the nozzle. A silicone sock on the heater block helps. Rather a little slower. For smooth, glossy surfaces, a moderate speed often achieves more than maximum performance. PETG compared How PETG compares with PLA, ABS, ASA and TPU is shown in the filament overview /3d druck/filamente/ ."},{"t":"Printing PLA: settings, tips and typical problems","k":"3D printing · Filaments","d":"Everything for printing with PLA: temperatures, cooling, build plate, variants such as silk and matt, what PLA is good for and where its limits lie.","u":"/en/3d-printing/filaments/printing-pla/","x":"PLA is the material almost everyone starts with, and for many it remains the most important. It prints on practically any FDM printer, hardly smells and forgives small mistakes. Here is how to get the best out of it and when you are better off reaching for another material. Settings at a glance Setting Guide value Nozzle temperature 190 to 220 °C Bed temperature 50 to 60 °C Part cooling 100 %, from the second layer Enclosure not needed, open the door or lid on enclosed printers Build plate smooth or textured PEI, without glue The values on the spool take priority. For the exact value, a temperature tower /3d druck/einstellungen/drucktemperatur/ is worthwhile. What PLA is good for Decoration and figures: wide choice of colours, sharp details, smooth surfaces Prototypes: quick to print, dimensionally accurate, inexpensive Brackets indoors: as long as no heat and no heavy impacts are involved Multi colour printing: PLA combines well and purges cleanly on a colour change Where PLA reaches its limits Heat. PLA becomes soft from around 55 to 60 °C. A part in the car, on a windowsill in the sun or near a radiator can deform. Impacts and bending. PLA is stiff but brittle. It is more likely to break than to give way. For clips, snap fits or parts that are bent often, PETG /3d druck/filamente/petg/ is the better choice. Outdoors. UV light and moisture make PLA fade and become brittle over time. ASA /3d druck/filamente/asa/ suits parts used outdoors. PLA variants Variant Special feature What to watch for PLA+ / Pro / Tough somewhat tougher than standard PLA the name is not standardised, every manufacturer means something different Silk glossy, silky surface weaker layer adhesion, better for decoration Matt surface without gloss, layer lines are less noticeable somewhat more brittle Wood, marble, glitter particles in the filament a larger nozzle 0.6 mm can prevent clogs CF with carbon fibres stiffer, matt look hardened nozzle needed Typical problems The nozzle clogs on enclosed printers. PLA does not like a warm environment. If heat builds up in the enclosure, the filament softens before it reaches the nozzle. Open the door or lid; some printers have a dedicated setting for this. Overhangs curl. Usually too little cooling or too high a temperature. Fan to 100 % and lower the temperature in steps of 5 degrees. The bottom layer is too wide. That is elephant's foot /glossar/elefantenfuss/ . Lower the bed temperature to 50 to 55 °C or raise the Z offset slightly. The first layer does not stick. Clean the plate with washing up liquid. Everything else is in First layer does not stick /3d druck/probleme/erste schicht/ . Storage PLA is less sensitive than other filaments but still absorbs moisture. Stored open, it becomes brittle over time and snaps at the spool. In a box with desiccant it lasts considerably longer. More in Drying and storing filament /3d druck/filamente/trocknen/ . PLA compared How PLA compares with PETG, ABS, ASA and TPU is shown in the filament overview /3d druck/filamente/ . Specific PLA types from various manufacturers with price, temperatures and tolerance are in the PLA comparison /3d druck/filamente/pla vergleich/ ."},{"t":"Printing Polycarbonate (PC): Temperatures, Chamber and Warping","k":"3D printing · Filaments","d":"PC is heat-resistant and impact-resistant but hard to print. Which temperatures are needed, why it needs a warm chamber and what PC blends change.","u":"/en/3d-printing/filaments/polycarbonate-pc/","x":"You know polycarbonate, PC for short, from safety glasses, light covers or housings of power tools. In 3D printing it is the material of choice when a part has to withstand heat and impacts. For that it needs very high temperatures and a warm environment, otherwise it warps badly. Settings at a glance Setting Guide value Nozzle temperature 250 to 290 °C Bed temperature 90 to 120 °C Part cooling off or low, about 0 to 30 % Chamber enclosed, ideally actively heated Build plate textured PEI or special plate, with glue stick Drying 75 to 80 °C, 6 to 8 hours The values on the spool take priority. For its PC Blend, for example, Prusa gives a nozzle of 275 °C and a bed of 110 to 115 °C, while other manufacturers are at 250 to 270 °C. What PC can do Heat resistant: Depending on the grade, the heat deflection temperature is around 105 to 115 °C, so above ABS and ASA. PC is therefore suitable, for example, for fan ducts on the printer or brackets that get warm in the sun in a car. Impact resistant and tough: PC does not break as easily as PLA, but tends to deform. Transparent grades: Clear PC can be printed, but because of the layers it never becomes crystal clear. The flip side: PC is one of the most difficult common filaments. It is not suitable for getting started. High temperatures: what your printer needs to manage With 250 to 290 °C at the nozzle and over 100 °C at the bed, PC pushes many machines to their limits. Check beforehand: 1. Hotend: continuously at least 270 °C, better 300 °C. A hotend with a PTFE tube all the way into the heating zone is unsuitable. 2. Heated bed: must reliably hold 100 °C or more. 3. Enclosure: closed, otherwise warping is almost certain for anything except small parts. Chamber and warping PC shrinks strongly as it cools and, like nylon, is prone to significant warping /3d druck/probleme/warping/ . Prusa even writes that PC warps heavily despite additives and strongly recommends an enclosure. What helps: Warm chamber: An enclosed printer is the minimum. With an actively heated chamber, larger parts also succeed much more reliably. You will find an overview under Printers with a heated chamber /3d druck/drucker/beheizte kammer/ . Low fan: Reduce part cooling to 0 to 30 %, slightly more only for overhangs. Brim: 5 to 10 mm wide. Design: Rounded corners warp less than sharp ones. Avoid large, flat parts across the whole bed where possible. No draughts: Windows shut, printer not next to ventilation or air conditioning. Some manufacturers recommend annealing the finished part, about 2 hours at 90 °C. This relieves internal stresses. Build plate and adhesion PC adheres very strongly to smooth PEI and can damage the surface when removed. Prusa therefore advises against smooth PEI plates. Better: textured PEI plate or a plate for engineering materials thin layer of glue stick as a release layer, which also protects the plate let the plate cool down completely before removing the part Moisture PC is hygroscopic, though less extremely so than nylon. Damp PC shows bubbles, crackling and poor layer adhesion. Dry it before printing; a typical manufacturer figure is 75 to 80 °C for 6 to 8 hours. How best to do this is explained under Drying filament /3d druck/filamente/trocknen/ . PC blends: easier to print Pure PC is difficult. That is why there are blends that keep some of the properties and print more forgivingly: Blend What changes PC ABS Slightly lower temperatures, less warping, lower heat resistance than pure PC PC PBT Better chemical resistance oils, greases, weak acids , impact resistant even in the cold, heat deflection temperature around 90 °C \"PC Blend\" from individual manufacturers Formulation mostly not disclosed, prints more easily, still warps on large parts If you are trying PC for the first time, a blend is the more sensible start. If you only need a little more heat resistance than PLA and not a high performance part, ASA or ABS is often enough. Typical problems Problem Common cause Solution Corne"},{"t":"Printing TPU: flexible parts without the frustration","k":"3D printing · Filaments","d":"How to print soft, rubbery TPU: understanding Shore hardness, speed, extruder, retraction and typical problems with flexible filament.","u":"/en/3d-printing/filaments/printing-tpu/","x":"TPU is the filament for anything that should give way: phone cases, seals, dampers, non slip feet or tyres for model cars. It feels like rubber and is very resistant to abrasion. It prints more slowly than other filaments, and not every printer copes with it equally well. Shore hardness: how soft is soft? The hardness of TPU is given on the Shore A scale. The lower the number, the softer the material. Shore hardness Feel Printability 95A to 98A firm but flexible, similar to a shoe sole easy, good for getting started 90A noticeably softer medium 85A and below very soft, similar to an eraser difficult, only with a good extruder 95A is the best choice to begin with. Settings at a glance Setting Guide value Nozzle temperature 210 to 230 °C Bed temperature 40 to 60 °C Speed slow, often 20 to 40 mm/s, depending on the printer Retraction low or off Part cooling on, roughly 30 to 100 % depending on the filament The values on the spool take priority. On cooling: Most filament manufacturers leave the part cooling fan running for TPU. In its data sheet for TPU 95A PDF https://storage.googleapis.com/prusa3d content prod 14e8 wordpress prusament prod/2025/05/80316f6d tds prusament tpu 95a en 1.pdf , Prusament gives 30 to 50 %, Polymaker's data sheet for PolyFlex TPU95 PDF https://cdn.shopify.com/s/files/1/1339/4265/files/Polymaker PolyFlex TPU95 TDS V4.pdf says \"Cooling fan: turned on\", and Bambu Lab gives 50 to 100 % for TPU 95A HF. Only the general guide to flexible materials in the Prusa Knowledge Base https://help.prusa3d.com/article/flexible materials 2057 advises switching cooling off. More under Setting up cooling /3d druck/einstellungen/kuehlung/ . Why the extruder matters so much Soft filament behaves like cooked spaghetti: if you push from behind, it compresses and bends instead of sliding forwards. That is why: Direct drive extruders with a short, guided path between gear and nozzle make TPU much easier. Bowden systems push the filament through a long tube. Hard TPU 95A often still works with them, soft TPU hardly at all. Multi colour systems are usually not approved for normal TPU. Soft filament easily jams in the feed path. Which systems handle which TPU is covered below in TPU in the AMS and other multi colour systems tpu im ams und anderen mehrfarbsystemen . Tips for clean results 1. Print slowly. The most common cause of problems is too high a speed. Start with your slicer's TPU profile and work your way up slowly. 2. Dry it. TPU absorbs a lot of moisture and then produces even more strings than usual. Dry it at 50 to 55 °C before printing. 3. Little retraction. Strong retraction can compress the soft filament. Many profiles use only a very short retraction or none at all. 4. Infill determines softness. A part with 10 % infill is much more yielding than one with 50 %. This lets you control the softness deliberately. 5. Don't overdo adhesion. TPU sticks very well, on smooth PEI sometimes too well. A release agent such as glue stick helps with removal. TPU in the AMS and other multi colour systems In short: normal TPU at 95A and softer runs in hardly any multi colour system. Some manufacturers approve only particularly hard TPU grades, which are specified in Shore D. Bambu Lab gives the order from hard to soft as: 77D, 70D, 68D, 55D, then 95A, 90A, 85A and softer. A TPU with 64D or 77D is therefore considerably harder than the usual 95A and feels less rubbery. System TPU according to the manufacturer Bambu Lab AMS and AMS 2 Pro normal TPU not compatible, Bambu \"TPU for AMS\" is approved Bambu Lab AMS lite according to the AMS lite FAQ only TPU of 55D or harder, not 95A, 85A, 83A or 80A. The newer TPU guide lists only \"TPU for AMS\" as compatible with the AMS lite. Bambu Lab AMS HT TPU only as a sealed dry box with its own TPU outlet, without automatic loading and unloading Creality CFS no TPU, Creality rules out all TPU materials Creality CFS lite harder grades such as TPU 77D and 64D, not TPU 95A or TPE Anycubic ACE Pro TPU 95"},{"t":"Prohibited Materials for Laser Cutting: What You Must Never Laser","k":"Laser · Safety","d":"PVC, vinyl, synthetic leather, polycarbonate, ABS, Teflon and more: which materials form toxic gases, catch fire or destroy your machine when lasered.","u":"/en/laser/safety/prohibited-laser-materials/","x":"Not everything a laser can cut is something it should cut. Some plastics form corrosive or toxic gases when lasered, others catch fire quickly or melt into burning drops. This overview shows which materials are prohibited, why, and how to identify unknown ones. The overview Material Typically found in Problem Classification PVC rigid and flexible Pipes, foam boards, films, cable insulation Hydrogen chloride, which turns into hydrochloric acid with moisture; chlorine gases; corrosion of the machine and optics prohibited Vinyl Plotter film, vinyl records, flooring Mostly PVC, same gases prohibited Synthetic leather with PVC Bags, upholstery, labels PVC coating on fabric prohibited Polycarbonate PC, Lexan, Makrolon Protective screens, housings, phone cases Discolours, melts, can ignite, lots of smoke prohibited for cutting ABS Housings, toys, 3D printed parts Melts instead of vaporising, can burn, harmful fumes prohibited HDPE Milk bottles, plastic chopping boards Melts and burns, sticky residue prohibited PTFE Teflon Seals, sliding films, coatings Fluoroplastic, dangerous gases when heated prohibited Fibreglass GRP Circuit boards, boat building, sheets Glass cannot be cut, resin forms fumes, fine dust prohibited Carbon CFRP , coated Frames, sheets, trim parts Resin and fibres, conductive fine dust on electronics and optics prohibited Polystyrene foam Styrofoam Packaging, insulation Ignites very easily, melts prohibited PP foam Packaging, cushioning Burning, dripping melt prohibited Galvanised steel, zinc sheet Sheets, perforated sheets, magnetic boards, gutters Zinc oxide fumes, can trigger metal fume fever only with a fibre laser, enclosure and extraction, see Laser cutting metal /laser/materialien/metall lasern/ Coated materials of unknown type Painted boards, foil covered wood, synthetic surfaces Unknown gases, often PVC film or halogen containing paints only with a datasheet Unknown plastics and recycled boards Offcuts, mixed plastics Unknown composition, flame retardants only with a datasheet The list is based on manufacturers' material lists Thunder Laser, FLUX and the widespread \"Never cut list\" from makerspaces. It is not exhaustive. If in doubt, the rule is: do not laser it. Why PVC is so dangerous PVC contains chlorine. When heated, hydrogen chloride is produced. Together with moisture in the air, in your airways and on metal surfaces, it forms hydrochloric acid. This has two consequences: For you: Irritation of the eyes, skin and lungs. The fumes are considered harmful to health and in part carcinogenic. For the machine: Guides, screws, mirrors and electronics corrode. Even a few jobs can leave damage that only shows weeks later. Extraction does not change this. The gases are produced directly at the laser spot and attack everything in the machine before they are extracted. Synthetic leather also often contains PVC, not only as the main material but as a coating on a fabric. Many names such as \"imitation leather\", \"Skai\" or \"vegan leather\" say nothing about the material. PU synthetic leather is usually less problematic but still needs a datasheet. Real leather is a topic of its own, see Laser cutting leather /laser/materialien/leder lasern/ . Confusing polycarbonate and acrylic Polycarbonate and acrylic PMMA look almost the same. Acrylic can be cut superbly with a CO₂ laser, polycarbonate cannot. It turns yellow to brown, melts at the edges, produces a lot of smoke and can ignite. Here is how to tell the two apart without a laser: Bending: Polycarbonate bends a long way before it breaks. Acrylic breaks in a brittle way. Edges: Cast acrylic often has a clear, slightly bluish edge. Marking: Protective films often say PC, PMMA, Plexiglas or Makrolon. Origin: Protective screens, visors and shatterproof parts are almost always PC. More on the difference and on suitable types of acrylic in the article Laser cutting acrylic /laser/materialien/acryl lasern/ . Melting plastics: ABS, HDPE, foams ABS, HDPE, polystyrene foam and "},{"t":"PrusaSlicer: the mature open-source slicer explained","k":"3D printing · Slicers","d":"What PrusaSlicer can do, which printers it suits, which features set it apart and where its limits lie.","u":"/en/3d-printing/slicers/prusaslicer/","x":"PrusaSlicer is the slicer from Prusa Research. It is free, open source and regarded as one of the most mature slicers there is. Many other slicers, including Bambu Studio and OrcaSlicer, build directly or indirectly on its code. At a glance Developer Prusa Research Cost free Licence open source AGPL 3.0 Systems Windows, macOS, Linux Printing methods FDM and resin for Prusa resin printers Origin further development of Slic3r Who is PrusaSlicer suitable for? Prusa printers: The profiles are precisely tuned, and Prusa Connect is integrated directly. Many other printers: PrusaSlicer comes with profiles for numerous third party machines, such as open printers from Creality or Anycubic. Newer machines from other manufacturers, however, are often easier to find in their own slicer or in OrcaSlicer. Beginners: three view levels from \"Simple\" to \"Expert\" show or hide settings as needed. What sets PrusaSlicer apart Mature fundamentals: stable, well tested print profiles and an understandable interface Organic supports: tree like supports that save material and are easy to remove Variable layer height: fine layers only where the shape demands it Painting on: paint supports, seam positions and colours directly onto the model Multi colour printing: support for Prusa's MMU and the XL with several tool heads Very good documentation: detailed help pages in German and English in the Prusa Knowledge Base Limits Fewer built in calibration tests than OrcaSlicer. You have to load temperature towers and similar tests as a model and set them up by hand. Bambu Lab printers cannot be controlled as conveniently as with Bambu Studio or OrcaSlicer. Alternatives If you want many calibration tests directly in the slicer, take a look at OrcaSlicer /3d druck/slicer/orcaslicer/ . An overview of all the major slicers is given in the slicer comparison /3d druck/slicer/ ."},{"t":"PVA and BVOH: printing soluble support material correctly","k":"3D printing · Filaments","d":"Water-soluble supports made of PVA or BVOH: what you need, how the two differ, how to store them and how to dissolve them correctly.","u":"/en/3d-printing/filaments/pva-and-bvoh/","x":"Some models can hardly be printed with normal supports: internal cavities, nested parts or overhangs that no tool can reach. Water soluble support materials help here. You print the supports from PVA or BVOH, put the finished part in water, and the supports dissolve. Requirement: a printer for two materials Soluble supports need a printer that can process two materials in one print. There are three ways to do this: Tool changer or two nozzles: Each material has its own nozzle. This is the cleanest solution, because the materials do not mix. Multi colour system with one nozzle: The filament is swapped, and the nozzle has to be purged each time. This works, but costs time and material. Residue of the build material in the support material can make later dissolving harder. Only the contact layer soluble: Many slicers can print only the top support layer directly under the model from PVA and the rest from the build material. This saves expensive support material and swaps. Which devices can handle several materials is shown in the overview Multi colour printers /3d druck/drucker/mehrfarbig/ . The basics of supports in general are in the article Supports /3d druck/einstellungen/stuetzstrukturen/ . PVA and BVOH compared PVA BVOH Nozzle temperature about 190 to 220 °C, some types higher about 210 to 220 °C Bed temperature around 60 °C around 60 °C Dissolving several hours faster than PVA Adhesion to build material good to PLA better, also to other materials Clogging more prone less prone Moisture sensitivity extremely high very high, slightly more robust Price expensive even more expensive The values are guide values. Prusa gives 195 °C for its PVA and 215 °C for BVOH. The values on the spool take priority. PVA is the classic, more widespread support material. It is somewhat cheaper, but clogs more easily and is very delicate with moisture. BVOH adheres better to the build material, dissolves faster and tolerates a little more humidity. It costs more, though. Which materials does it work with? What matters is that build material and support material are printed at similar temperatures and adhere well to each other. PLA: the best combination for PVA and BVOH. The temperatures match well. PETG: possible with some PVA and BVOH types, check according to the manufacturer's specification. ABS, ASA, PA, PC: For PVA, the printing and chamber temperatures of these materials are usually too high. BVOH works with some engineering materials, and for ABS and ASA there are also dedicated support materials, such as HIPS, which dissolves in limonene. A tip from Prusa: do not print PVA and BVOH directly on the build plate, but on one or two layers of PLA raft. This improves adhesion noticeably. Storage: extremely sensitive to moisture PVA and BVOH are made to dissolve in water. Accordingly, they absorb moisture from the air quickly. After only a short time open in the room, the filament becomes soft and sticky, prints badly and can clog the nozzle or the multi colour system. 1. Dry before printing , typically at 45 to 55 °C for several hours. Details are in the article Drying filament /3d druck/filamente/trocknen/ . 2. Keep dry during printing , ideally printing from a dry box or a dryer. 3. Immediately after printing , put it back in an airtight container with desiccant. 4. Buy small spools. PVA and BVOH often come on 500 g spools. That makes sense, because a large spool will hardly stay dry to the end. Dissolving: how it works 1. Remove the bulk first. Remove beforehand whatever can be easily broken off or pulled out with pliers. This saves a lot of time. 2. Put in water. Lukewarm water speeds up dissolving considerably. For parts made of PLA, no warmer than about 35 °C, otherwise the PLA can deform. Never above 50 °C. 3. Agitate. Stirring, a container with a pump or running water shortens the time. An ultrasonic cleaner helps too. 4. Be patient. Depending on amount, temperature and agitation, it takes from under three hours to overnight. 5. Change"},{"t":"Relief and texture: tactile 3D effects in UV printing","k":"UV printing · Basics","d":"How tactile relief is made in UV printing: layer build-up, typical heights, greyscale height maps, time and ink needs, and where the limits are.","u":"/en/uv-printing/basics/relief-and-texture/","x":"A UV printer can do more than print flat. Because every ink layer hardens immediately, you can stack layer upon layer until a tactile structure forms. This is how oil painting reproductions get brush strokes, signs get raised lettering and wood prints get a noticeable grain. How relief is created The principle is simple: the printer passes over the same spot several times and builds ink upward. Each layer is cured before the next one goes on. Where there are more layers, the surface is higher. There are two common ways to build it up: White as the body, colour on top: Many layers of white form the shape, and a CMYK layer colours the surface. Result: coloured relief. Varnish as the body: Many layers of clear varnish. Result: a transparent, glossy structure over a flat colour print, for example for spot varnish effects or a water drop look. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 270\" role=\"img\" aria label=\"Coloured relief: many layers of white form the shape, a colour layer sits on top\" <text class=\"t\" x=\"16\" y=\"26\" Coloured relief</text <rect class=\"plate\" x=\"70\" y=\"180\" width=\"200\" height=\"20\"/ <rect class=\"plate\" x=\"85\" y=\"160\" width=\"170\" height=\"20\"/ <rect class=\"plate\" x=\"100\" y=\"140\" width=\"140\" height=\"20\"/ <rect class=\"plate\" x=\"115\" y=\"120\" width=\"110\" height=\"20\"/ <rect class=\"plate\" x=\"130\" y=\"100\" width=\"80\" height=\"20\"/ <rect class=\"plate\" x=\"145\" y=\"80\" width=\"50\" height=\"20\"/ <path class=\"fil\" stroke width=\"4\" d=\"M70 180H85V160H100V140H115V120H130V100H145V80H195V100H210V120H225V140H240V160H255V180H270\"/ <rect class=\"tool\" x=\"24\" y=\"200\" width=\"292\" height=\"26\" rx=\"2\"/ <text class=\"s\" x=\"206\" y=\"76\" Colour layer on top</text <text class=\"s\" x=\"170\" y=\"150\" text anchor=\"middle\" many layers of white</text <text class=\"s\" x=\"170\" y=\"256\" text anchor=\"middle\" White builds the shape, colour on top</text </svg <svg viewBox=\"0 0 340 270\" role=\"img\" aria label=\"Gloss texture: on a flat colour print, many clear varnish layers build up the structure\" <text class=\"t\" x=\"16\" y=\"26\" Gloss texture from varnish</text <rect class=\"tool\" x=\"24\" y=\"200\" width=\"292\" height=\"26\" rx=\"2\"/ <path class=\"fil\" stroke width=\"4\" d=\"M24 198H316\"/ <path class=\"ink\" stroke width=\"1.3\" d=\"M40 196V180H55V160H70V140H85V120H100V100H115V80H165V100H180V120H195V140H210V160H225V180H240V196M55 180H225M70 160H210M85 140H195M100 120H180M115 100H165\"/ <text class=\"s\" x=\"176\" y=\"76\" clear varnish</text <text class=\"s\" x=\"316\" y=\"188\" text anchor=\"end\" Colour print</text <text class=\"s\" x=\"170\" y=\"256\" text anchor=\"middle\" Structure over a flat colour print</text </svg </div <figcaption Schematic cross section. On the left, many layers of white form the shape and a colour layer colours the surface. On the right is a flat colour print, with clear varnish layers building up the tactile structure above it.</figcaption </figure With the E1, for example, eufyMake describes exactly these two modes: coloured texture from white layers with a colour layer on top, and gloss texture from varnish layers. The basics of layer order are in Colour, white and varnish /uv druck/grundlagen/farbschichten/ . How high can it go? That depends heavily on the device. For simple spot varnish effects, fractions of a millimetre are enough, and that is already clearly tactile. Devices that specifically advertise relief state considerably more. For the E1, eufyMake gives a maximum relief height of up to 5 mm. Such values are maximums. In everyday use, far less than the maximum is enough for most motifs to give a clear tactile structure. Work your way up with test prints. Before buying or starting a project, always check the manufacturer's specifications for your device and whether it supports relief in the software at all. Not every UV printer with a varnish channel offers a dedicated texture mode. Time and ink needs Relief is the most expensive effect in UV printing. Every millimetre of height consists of many individual layers, and each layer needs its own pas"},{"t":"Resin printing explained: how MSLA printers work","k":"3D printing · Resin printing","d":"How resin printers cure liquid resin with UV light layer by layer, what 8K, 12K and 16K mean and how a print goes from slicing to curing.","u":"/en/3d-printing/resin-printing/","x":"A resin printer does not build parts from melted plastic but from liquid synthetic resin. Light cures the resin layer by layer. This produces much finer detail than filament printing, for example for miniatures, jewellery or dental models. In return, the work around it is more involved: washing, curing and careful handling of the resin are always part of it. You will find all resin printers in the wiki with build volume, resolution and price in the overview of resin printers /3d druck/resin drucker/ . How a resin printer works Most devices for hobby and small business use work inverted : the build platform dips into a vat of resin from above. The vat has a transparent bottom made of film. Light shines through this bottom from below, and exactly the thin layer of resin between platform and film cures. Then the platform lifts by one layer thickness and the next layer follows. The part therefore grows upside down, downwards. Curing is done with light of usually 405 nm wavelength, that is visible violet just above the UV range. Formlabs calls 405 nm the wavelength usually used for curing resin. Typical layer heights are 0.025 to 0.05 mm. SLA, DLP and MSLA Process How the light reaches the resin Typical for SLA A laser traces the cross section of each layer professional devices DLP A projector exposes the whole layer at once some professional and dental devices MSLA LCD An LED panel lights up, and an LCD screen in front lets only the cross section through almost all hobby devices With MSLA masked SLA , a black and white screen serves as a mask. Because the whole layer is exposed at the same time, each layer cures in a few seconds. Monochrome LCDs let more light through than colour displays and shorten exposure to as little as one to two seconds per layer in some cases. What 8K, 12K and 16K mean The number roughly describes the pixels along the long side of the display. More pixels on the same area mean smaller pixels and therefore finer possible detail. The pixel size in micrometres µm is therefore more meaningful. An example: the Elegoo Saturn 4 Ultra 16K has 15,120 x 6,230 pixels on a 10 inch display, and one pixel measures 14 x 19 µm. Two caveats apply: pixel size is only a theoretical lower limit, and real details are usually much coarser. And a large display with the same K number has larger pixels than a small one. On large devices such as the Anycubic Photon Mono M7 Max, the pixel size is therefore 46 µm. How a print proceeds 1. Slicing: In the slicer for example Chitubox, Lychee or the manufacturer's software you orient the model, add supports and cut it into layers. Hollow models need drain holes, otherwise liquid resin stays trapped inside. 2. Printing: Shake the resin, pour it into the vat, start the print. Many manufacturers recommend a room temperature of at least 20 °C, which is why some devices heat the vat. 3. Washing: The part comes out of the printer covered in liquid resin and is cleaned in isopropanol or, for water washable resin, in water. 4. Drying: The part must be completely dry before curing. 5. Curing: Under UV light the part reaches its final strength. Formlabs recommends removing the supports only afterwards. Exactly how washing and curing work is explained under Washing and curing /3d druck/resin/waschen aushaerten/ . Before you start, please read Safety in resin printing /3d druck/resin/sicherheit resin/ . If a print does not adhere, sticks to the film or has holes, the resin printing troubleshooting guide /3d druck/resin/resin probleme/ helps. What print time depends on Because each layer is exposed as a whole, a full build plate takes hardly any longer than a single part. What matters is the number of layers , that is the height of the model divided by the layer thickness. If you print many small parts, you therefore fill the plate instead of printing them individually. A thicker layer saves a lot of time on tall models but costs detail. Sources Formlabs: SLA, DLP and MSLA compared https://formlabs.c"},{"t":"Resin Printing Safety: Gloves, Ventilation, Disposal","k":"3D printing · Resin printing","d":"Why liquid resin can cause allergies, what protective equipment you need, where to put the printer and how to dispose of resin and isopropanol correctly.","u":"/en/3d-printing/resin-printing/resin-printing-safety/","x":"Liquid resin is not a harmless craft glue. The safety data sheets of common resins warn of skin irritation, allergic skin reactions, eye irritation and irritation of the respiratory tract. This also applies to water washable and plant based resin. If you follow a few rules from the start, you can still print with peace of mind. What is in the resin Resins consist largely of acrylates , that is, reactive plastic building blocks. The safety data sheet for Anycubic Standard Resin, for example, lists 20 to 30 % triethylene glycol diacrylate. The hazard statements in the data sheets: Resin example Statements according to the safety data sheet Anycubic Standard Resin skin irritation, may cause allergic skin reactions, serious eye irritation, may irritate the respiratory tract Anycubic Water Wash Resin+ as above, plus \"causes serious eye damage\" and harmful to aquatic organisms Elegoo Photopolymer Resin may cause allergic skin reactions, eye irritation, respiratory irritation uncured Photocentric Durable, plant based may cause allergic skin reactions, serious eye damage, very toxic to aquatic organisms The tricky part is sensitisation : repeated skin contact can trigger an allergy to acrylates. According to the resin manufacturer Ameralabs, it is usually permanent and can also extend to acrylates in gel nails or dental material. Prusa points out that people with eczema should be especially careful. Protective equipment Gloves: Formlabs recommends chemical resistant gloves made of nitrile or neoprene, not latex. Thin disposable nitrile gloves only protect against splashes. Change them as soon as resin gets on them and throw them away after working. Manufacturers' information differs here, by the way: the Anycubic data sheet names butyl rubber. Safety glasses: mandatory when there is a risk of splashing, especially when pouring, stirring and washing. Clothing: long sleeves or an apron. Resin that lands on fabric would otherwise end up on your skin. Resin on skin: wash off immediately with soap and water. No isopropanol and no other solvent, as Formlabs explicitly advises. Ventilation and where to put the printer A study by UL Chemical Insights, 2021 measured 3 to 6 times higher emissions of volatile organic compounds VOC from a resin printer than the average for filament printing. During washing, most of it came from the isopropanol. The values were below the limit values, but the authors warn of the irritant effect of the mixture. The German Environment Agency Umweltbundesamt generally sees exposure to VOC and fine dust from 3D printing indoors. Our recommendation from this, not a regulation: do not put the resin printer in the living room or bedroom, but in a room of its own that you can ventilate well. The BG ETEM a German statutory accident insurance body also recommends a separate room and regular ventilation for workplaces. An exhaust to the outside helps more than an activated carbon filter, which according to Ameralabs only supplements it. Isopropanol is flammable According to the safety data sheet, isopropanol IPA is highly flammable, and the flash point is 12 °C, below room temperature. Vapours can ignite. Therefore: no open flame, no cigarette, no fan heaters nearby always keep containers closed and store only the amount needed at the workstation do not use a heating function on wash stations with IPA, as Phrozen explicitly warns Disposing of it correctly What Where to liquid resin, including leftovers hazardous waste collection, or cure it first cured resin, finished parts, supports general waste paper towels with resin cure in sunlight first, then general waste isopropanol with dissolved resin hazardous waste collection, never down the drain rinse water from water washable resin never down the drain uncured: cure it, filter out the solids According to Formlabs, you can leave small leftover amounts of liquid resin in a labelled, transparent container in the sun for a few days until solid, and then put it in general waste. H"},{"t":"Resin printing troubleshooting: adhesion, FEP film, layer separation, holes","k":"3D printing · Resin printing","d":"Print not sticking, stuck to the film, splitting between layers or full of holes: causes and fixes from manufacturer information, plus exposure test, cold and slicers.","u":"/en/3d-printing/resin-printing/resin-print-problems/","x":"A resin print rarely fails quietly. Sometimes only a thin skin is left in the vat after hours, sometimes half the model hangs on the film, sometimes it tears between two layers. Most failures have only a few causes: exposure, levelling, temperature, supports and the condition of the vat and film. This page goes through the typical failure patterns one by one. How a resin printer works in general is explained under Resin printing explained /3d druck/resin/ . Wear nitrile gloves and safety glasses whenever you troubleshoot. Failed prints almost always mean liquid resin on the build plate, vat and tools, see Safety in resin printing /3d druck/resin/sicherheit resin/ . Clean up first, then search After every failed print: before you start again, the vat must be clean. Cured residue in the resin or on the film is pushed against the build plate in the next print and can damage the film or the display. Anycubic describes these steps: 1. Check the build plate and remove cured residue. A metal scraper may be used on the build plate. 2. Use the printer's cleaning function, if it has one. It exposes a thin layer to which loose residue sticks. 3. Loosen cured resin in the vat only with a plastic scraper, never with metal. 4. Stir the resin with a plastic spatula and pour it back into the bottle through a filter. 5. Check the empty film: if it has dents, scratches or baked on residue, Anycubic advises replacing it. Depending on the machine, the film is called FEP, nFEP, PFA or ACF. For troubleshooting this makes no difference, they are all wear parts. Print does not stick to the build plate What it looks like: The build plate comes out empty, a cured sheet floats in the vat, or the model comes loose in the middle of the print. Cause What helps Build plate not levelled level again following the manual, then tighten the screws. Anycubic also lists reasons to readjust on machines that do not need levelling: build plate dropped, build plate or display replaced, print made in the vat instead of on the build plate. Bottom layers exposed too briefly increase the bottom exposure. Phrozen recommends 10 to 20 % more for the first layers. After a failed test print, Anycubic advises 80 seconds of bottom exposure. Resin too cold preheat the room or vat, see below. For a cool environment, Elegoo recommends increasing the bottom exposure by about 10 seconds. Build plate too smooth or dirty clean with isopropyl alcohol. Phrozen lists light sanding with fine sandpaper as an option if the build plate is too smooth. Third party resin with wrong values Anycubic recommends testing with the manufacturer's own resin first. If that works, ask the resin manufacturer for suitable values. The bottom exposure depends heavily on the machine, the resin and even the colour. For the original Mars, for example, Elegoo gave 60 to 70 seconds for most colours, 70 to 75 seconds for transparent resin and 90 seconds for black and dark red resin, and more for large and heavy models. Current machines with a stronger light source use very different values. Always take the resin manufacturer's table for your machine as a starting point. Print stays stuck to the film What it looks like: Part of the model or the whole base sticks to the bottom of the vat, with only the rest hanging on the build plate. At its core this is the same problem as above: adhesion to the film is stronger than adhesion to the build plate. The causes therefore overlap. Check first: levelling, bottom exposure, temperature. Elegoo names exactly these three points for the failure pattern \"model sticks to the film instead of the build plate\". Then there is the suction cup effect: hollow or shell shaped parts whose opening faces the film trap air. Lifting creates negative pressure. Formlabs describes the consequences: holes or torn walls in the part, rough surfaces inside the shell and resin splashes in the printer when the suction cup breaks away from the film. The fix according to Formlabs: add drain holes and or"},{"t":"Resin types: standard, tough, water-washable, flexible and more","k":"3D printing · Resin printing","d":"Which types of resin there are, what they are good for, what they cost per kilo, how to store them and what temperature to print at.","u":"/en/3d-printing/resin-printing/resin-types/","x":"Resin is not just resin. As with filament, there is a cheap standard material for getting started and specialist resins for functional parts, jewellery casting or flexible parts. On hobby machines they all cure with light at around 405 nm. Check anyway whether your printer supports the resin, as some manufacturers state wider ranges. The main types Type Properties Typical for Price per kg approx. Standard cheap, easy to print, but brittle and not very heat resistant figurines, display models, prototypes €16 to €25 Water washable cleaned with water instead of isopropyl alcohol getting started without IPA €20 to €45 ABS like, tough more impact resistant and durable, slightly harder to print functional parts, brackets around €50 example: Phrozen Water Washable Tough Plant based part of the raw materials from renewable sources, often less smell as standard around €27 Flexible rubbery, bendable grips, seals, wearables around €90 example: Liqcreate Premium Flex Engineering, high temperature dimensionally stable under heat engineering, mould making €50 to €195 Castable resin burns out almost without residue in investment casting jewellery, dental, small metal parts from about €110 Prices from the shops of Elegoo, 3DJAKE, MediaMarkt and Formlabs, as of 12 October 2026, rounded, excluding shipping. Professional resins for cartridge systems cost considerably more. A few figures for context: according to the data sheet, Elegoo Standard Resin has a tensile strength of about 34 MPa and an elongation at break of around 9 %. Formlabs Castable Wax Resin contains 20 % wax and leaves 0.0 to 0.1 % ash when burned out. Two common misconceptions Water washable does not mean harmless. The safety data sheet for Anycubic Water Wash Resin+ even warns of serious eye damage. You need gloves and safety glasses just the same, and the rinse water must not go down the drain. More on this under Safety in resin printing /3d druck/resin/sicherheit resin/ . Plant based does not mean biodegradable. The resin manufacturer Siraya itself writes that most plant based resins are not yet fully biodegradable. According to its data sheet, a plant based resin from Photocentric is classified as very toxic to aquatic organisms. Elegoo advertises its Plant Based Resin as \"biodegradable\", but we have not found independent evidence for this. Storage Resin belongs in a dark place, well sealed and not too warm. The manufacturers' information differs: Formlabs: 10 to 25 °C, protected from sunlight, for longer periods not in the vat but in a light tight container Elegoo: according to the data sheet best at 25 to 30 °C, shelf life 2 years, do not freeze Anycubic: room temperature, protected from light and heat, shelf life 1.5 years Shake the bottle well before printing and stir the resin in the vat, as pigments settle. Temperature when printing Cold resin becomes viscous. The consequences are supports tearing off, poor adhesion and failed prints. The manufacturers recommend: Manufacturer Recommendation Phrozen ideally 24 to 30 °C; below 20 °C prints start to fail; between 18 and 24 °C increase the exposure by 20 % Elegoo 25 to 35 °C, below 20 °C failed prints are likely Anycubic Standard Resin V2 18 to 35 °C, preheating possible, but not above 60 °C Formlabs printers heat the resin to about 35 °C As a rule of thumb: at least 20 °C, ideally about 25 to 30 °C, and always follow the information for your resin. Printers with vat or chamber heating help in winter and in cold rooms. You can see which machines offer this in the overview of resin printers /3d druck/resin drucker/ . Sources Siraya Tech: Types of resin for 3D printing https://siraya.tech/blogs/news/types of resin for 3d printing resin manufacturer Elegoo: Standard Resin data sheet no longer online , safety data sheet https://web.archive.org/web/20260610181228/https://www.123 3d.co.uk/pdf/DLQ05012 SDS EN.pdf , shop: Standard Resin https://eu.elegoo.com/products/elegoo standard resin , Water Washable https://eu.elegoo.com/pro"},{"t":"Respooling filament, refill spools and joining filament","k":"3D printing · Filaments","d":"How to wind filament onto another spool without tangles, use spool-free refills correctly and join filament offcuts cleanly.","u":"/en/3d-printing/filaments/respooling-filament/","x":"When respooling, you wind filament from one spool onto another, for example from a cardboard spool onto a plastic spool that fits your multicolour system. The most important rule: never let go of the loose end. Tangles almost always happen because the end springs back and slips under another winding. Refills without a spool, on the other hand, go onto a reusable spool from the manufacturer, and you only cut the retaining straps once the spool is firmly closed. Filament offcuts can be joined with heat, but the joint must then be back at the normal diameter. When respooling makes sense Spool does not fit: Multicolour systems and dryers accept only certain spool dimensions table below . Cardboard spool: Some systems are not approved for cardboard spools. QIDI, for example, writes that the QIDI Box is not compatible with cardboard spools and recommends an adapter ring. Snapmaker lists more friction, cardboard dust and a greater tendency to absorb moisture as drawbacks of cardboard spools. Damaged spool: A broken spool flange can make the filament unwind unevenly. Filament bought without a spool: Bulk packs or refills have to go onto a spool. Spool dimensions of some multicolour systems System Diameter Width Note Bambu Lab AMS lite inner diameter 53 to 58 mm 40 to 68 mm no further manufacturer information Creality CFS 197 to 202 mm 42 to 68 mm no further manufacturer information Creality CFS lite 195 to 202 mm 42 to 68 mm Creality cardboard spools compatible according to the manufacturer Anycubic ACE 2 Pro 195 to 200 mm 60 to 68 mm standard 1 kg spools QIDI Box 195 to 202 mm 50 to 72 mm no cardboard spools without an adapter ring As of: manufacturer information in October 2026. For other devices and newer models, the manufacturer's instructions apply. Which filaments a system can process in general is covered in Multicolour printing /3d druck/grundlagen/mehrfarbdruck/ . Respooling by hand You need the full spool, an empty spool, a rod on which both can turn freely a broomstick between two chairs will do in a pinch , and a filament clip or tape. Snapmaker describes the procedure like this: 1. Mount both spools so that both turn easily. The filament should come off the full spool in the same direction in which it goes onto the empty spool, for example both from the top. 2. Transfer the end: Release the end from the full spool without letting go of it, and thread it through one of the holes in the core of the empty spool. 3. Winding: Turn the empty spool. With your other hand, hold the filament lightly and evenly taut. 4. Guiding: Guide the filament back and forth across the width of the spool as you go, so that even layers form. 5. Securing the end: At the end, hold on to the end and immediately clamp it in the flange of the new spool. A neatly wound spool unwinds more evenly. According to Snapmaker, slightly untidy layers are not a problem as long as nothing is tangled. A smooth winding is less likely to snag, though. Respooling with a spool winder Rewinding a whole 1 kg spool by hand takes a while. It is quicker with some help: Cordless drill: The empty spool sits on an axle that is clamped into the drill. Printed spool winder: There are many models on MakerWorld, Printables and other platforms, often with ball bearings and a guide for the filament. Here too: turn slowly and evenly, guide the filament lightly taut and never let go of the end. Snapmaker explicitly warns against winding too fast. Is the spool already tangled? You cannot get a real knot out by winding on. Snapmaker recommends unwinding a few dozen metres by hand and letting it fall loosely on the floor until you can see the spot where one winding lies under another. Free that spot, wind the loose filament carefully onto the new spool and then carry on as normal. Refills: using filament without a spool Refills are rolls of filament without their own spool. They are placed on a reusable spool. Important: a refill belongs on a spool that the manufacturer approves for it."},{"t":"Rub-ons and transfer stickers with UV DTF","k":"UV printing · Print files & workflow","d":"What rub-ons are, how to make them with a UV printer, A film and B film, which surfaces they stick to, how long they last and which devices do UV DTF.","u":"/en/uv-printing/workflow/uv-dtf-rub-ons/","x":"A rub on is a transfer image that you do not stick on like a sticker with a backing film, but rub on to the object. Only the motif is left, with no visible film edge. The principle is old: according to Wikipedia, Letraset rub down lettering was rubbed from a transparent sheet onto the paper with a hard pencil or a burnishing tool. With a UV printer and UV DTF film you can now make such transfers yourself, in colour, with white and varnish. The specialist retailer Printequipment accordingly calls UV DTF film for sticker production \"DTF Rub On\", and eufyMake speaks of UV DTF decals or stickers. The technology behind it is explained in UV DTF explained /uv druck/grundlagen/uv dtf/ . This article is about the practical workflow from motif to finished rub on. What you need a UV printer that can print on A film, as sheets or from the roll A film: the print film with an adhesive layer that is printed on B film: the clear transfer film that is laminated over the print a laminator or laminating roller, built in on some machines a cutting knife or scissors, a squeegee isopropyl alcohol and a lint free cloth for the surface Step by step 1. Create the motif: eufyMake recommends high resolution files with a transparent background. Printing happens only where there is motif, and this later becomes the rub on. How to set up white and varnish is explained in Preparing print data /uv druck/workflow/druckdaten vorbereiten/ . 2. Load the A film: With sheet stock, peel off the protective layer so the adhesive side is exposed. For its O1 Omni, xTool writes that the thinner, non adhesive side of the release paper must face up, and it fixes the sheet on an adhesive mat. 3. Print: The printer lays white, colour and usually varnish on top of each other. Printequipment gives the tip that several layers of white can make the transfer more stable. 4. Laminate: Run the printed A film together with the B film through the laminator. With xTool and eufyMake the laminator is preheated for this. Roll fed machines such as the Procolored VF13 Pro laminate directly after printing. 5. Cut out: Cut out the individual motifs with a little margin. 6. Apply: Clean the surface with isopropyl alcohol and let it dry. Peel off the A film, the motif now hangs on the B film and the adhesive side is exposed. Place it on and rub back and forth with the squeegee until the motif adheres completely xTool . 7. Peel off the B film: Peel slowly and flat. If part of the motif stays on the B film, press it down again. According to eufyMake, fine lines and sharp corners can break out when the B film is peeled off. Try new motifs small first. An independent test of the eufyMake laminator at The Gadgeteer also describes that adhesive residue can remain around the motif and has to be removed before applying. Variant: removing adhesive residue and foil embossing For its laminator, xTool also offers a stripping film that removes excess adhesive around the motif after printing. A separate transfer film is then laminated on. In the same way, xTool makes rub ons with hot stamping foil, for example in gold. Whether your machine can do this depends on software and accessories. Which surfaces rub ons stick to eufyMake names smooth surfaces such as plastic, wood, glass and metal. Slight curves, as on a mug, are fine, but strongly and multiply curved shapes lead to bubbles and lifting edges. Not suitable according to eufyMake: Silicone: The surface hardly accepts the adhesive, and the transfer often comes off after just hours. Soft rubber and soft TPU: The constant movement breaks the bond and the edges lift. Waxed or water repellent surfaces: The adhesive does not stick at all. Fabric and soft textiles: The transfer tears, comes off and does not survive washing. Textile DTF is intended for textiles, see DTF, DTG, screen printing, sublimation and heat transfer vinyl compared /makerspace/grundlagen/textildruck verfahren vergleich/ . For surfaces from which a motif is later supposed to come off agai"},{"t":"Running costs of a UV printer: ink, maintenance and print head","k":"UV printing · Buying guide","d":"What a UV printer costs per year, even when idle: ink, cleaning, wipers, print head and electricity, with a worked example for hobby and small business.","u":"/en/uv-printing/buying-guides/uv-printer-running-costs/","x":"The purchase price is only the beginning. A UV printer continuously uses ink, cleaning fluid and wear parts, and not only while printing. If you print rarely, you often pay more per print than someone who produces every day. Here you can see which items add up over a year. The running costs Item What it depends on Ink for prints area, coverage, white and varnish Ink for cleaning cycles number of cleaning cycles, idle time, number of colour channels Cleaning and maintenance fluid cleaning cycles, keeping the head moist Wipers, capping, pads use, manufacturer interval Print head head type, care, luck Electricity operating hours, standby Waste experience, material, product type Ink: not only for printing Part of the ink never ends up on a product. It is used up during flushing and cleaning. eufyMake has published exact values for the E1: Procedure Ink per colour channel When Short cleaning 0.0002 ml every 10 minutes when idle Medium cleaning 0.2 ml as needed Deep cleaning 1.5 ml automatically, if none has taken place for 72 hours Flushing before printing 0.2 ml only if nothing has been printed for at least 12 hours For a deep cleaning, 1.83 ml of cleaning fluid per channel is added. If you print several jobs in a row, you therefore only pay for flushing before printing on the first one. On top of that comes a white flush if less than 3 ml of white has been used in the last 36 hours. It costs up to 3 ml of ink, but is optional: the printer asks, and you can skip it. If you skip it often, take a look at the nozzle check, because white settles when there is little movement. With six channels, a deep cleaning therefore costs 9 ml of ink and 11 ml of cleaning fluid. At €29.99 per 100 ml of ink and €29.99 per 380 ml of cleaning fluid, that is a good €3.50 per procedure. Other machines work differently, but the principle remains: nozzles have to stay moist and clear, and that costs ink. When buying, ask how much a cleaning uses and how often it runs automatically. Idle time costs ink Many people think: if I am not printing, the machine costs nothing. With a UV printer that is not true. If a machine such as the E1 sits switched on, it still cleans itself. With 100 automatic deep cleanings a year, that would be about 900 ml of ink without a single print. The exact figure depends on how often the humidification runs instead. Switching it off is not a solution either. Without movement, white settles and nozzles dry out. A clogged head costs more in the end than the cleaning ink. More on this in Maintaining a UV printer /uv druck/zubehoer/uv wartung/ and Clogged nozzles /uv druck/probleme/uv duesen verstopft/ . Wear parts and print head Wipers, capping and pads clean the nozzle plate and keep it moist. They wear out. For the E1, eufyMake offers a set of scrapers, pads and gloves for US$29.99 and recommends replacing them every few months, depending on use. The print head is the most expensive wear part. Price examples from retailers: Head type Example price, single Epson XP600 DX11 about US$325 to US$625, on eBay from about €365 Epson i3200 about US$1,380 Ricoh Gen5 about US$2,650 Ricoh Gen6 about US$3,555 eufyMake E1 head module with circuit board, presumably an XP600 variant US$599 No manufacturer will tell you bindingly how long a head lasts. It depends on care, ink and use. Plan a reserve instead of relying on luck. UV lamp: It ages too. For the UV lamps of its UV DTF machines, Procolored gives a service life of about six months with normal use. Electricity Desktop machines need little electricity. The OMTech Spectra A3+, for example, states 280 W in operation and 15 W at rest. Over a year, depending on use, that adds up to a few tens of euros up to just under €200. If the machine runs around the clock, standby makes up a noticeable part of it. Worked example: hobby and small business All values are assumptions . Electricity price in each case €0.35 per kWh. Hobby: closed system as with the E1, six channels, ink €0.30 per ml, cleaning fl"},{"t":"Setting laser parameters: power, speed and line interval","k":"Laser · Settings","d":"Power, speed, passes, line interval and frequency: how laser parameters relate, with starting values for 10 W to 40 W diode and CO₂ lasers.","u":"/en/laser/settings/laser-settings/","x":"Whether an engraving comes out clean or a cut goes through is decided at its core by four values: power, speed, passes and, when engraving, the line interval. With fibre lasers, frequency is added. This article explains what each value does, how they relate and which starting values you can test with. The four basic values Power is usually given in the software as a percentage of maximum power. So 50 % on a 20 W diode laser is something different from 50 % on a 40 W machine. This is why percentage values can never be transferred one to one between machines. Speed is the pace at which the laser head travels over the material. The slower it is, the longer the beam acts on one spot. Watch the unit: many GRBL machines work in mm/min, manufacturer software often in mm/s. 60 mm/s is 3,600 mm/min. A wrong unit is one of the most common reasons for burnt or barely visible results. Passes repeat the same path. Two passes at medium speed often give cleaner cut edges than one very slow pass, because the material cools briefly in between and chars less. Line interval applies only to area engravings and images. The laser scans the area line by line, and the line interval determines how far apart the lines are. Line interval, LPI and DPI Line interval, LPI lines per inch and DPI describe the same thing from different directions. The conversion according to the LightBurn documentation: DPI = 25.4 divided by the line interval in mm. In xTool software you often find lines per centimetre instead. Line interval DPI or LPI Lines per cm 0.2 mm 127 50 0.1 mm 254 100 0.08 mm 318 125 0.05 mm 508 200 Smaller is not automatically better. If the interval is too small, the lines overlap, the engraving takes much longer and images become dark and muddy. If it is too large, visible stripes appear and you need more power for the same darkness. The ideal interval is where the lines just touch without overlapping. This depends on the laser spot of your machine. For wood with a diode laser, 0.08 to 0.1 mm is a common start. You find the right value with the interval test in LightBurn or a test grid, see Material test /laser/einstellungen/materialtest/ . Frequency with fibre lasers Fibre lasers work in pulses. The frequency in kilohertz states how many pulses are emitted per second. At the same power, roughly: low frequency means fewer pulses with more energy per pulse, which removes more material and looks rougher. High frequency means many weaker pulses, which puts more heat into the surface and is better suited to smooth markings and annealing colours on stainless steel. With Q switch sources the pulse duration is largely fixed, about 100 ns according to the source manufacturer JPT. MOPA sources additionally allow the pulse duration to be changed 2 to 500 ns at JPT and cover a much larger frequency range. This makes colour marking on stainless steel possible. Which frequencies your machine allows is stated in the data sheet of the laser source. Diode lasers and most hobby CO₂ lasers have no frequency control in this sense. How the values relate What matters is the energy that goes into the material per area or per millimetre of travel. Roughly: Double the power at the same speed has a similar effect to half the speed at the same power. It is not entirely linear, because heat flows away and materials react differently. A smaller line interval puts more energy into the area. If you reduce it, you often have to reduce power or move faster. When cutting, a second pass does not always replace slower travel. With thick materials it often helps to set the focus lower for the second pass, see Laser focus /laser/einstellungen/laser fokus/ . Diode lasers usually engrave at high power and control darkness via speed. According to the LightBurn documentation, CO₂ lasers typically engrave at low power and go slower for darker results. When adjusting, always change only one value at a time. Otherwise you will not know what brought the improvement. Starting values by power "},{"t":"Setting the laser focus: focal length, focal point and cutting","k":"Laser · Settings","d":"Focal point, focal length, manual and automatic focus: how to focus your laser correctly, go deeper when cutting and defocus on purpose.","u":"/en/laser/settings/laser-focus/","x":"A laser concentrates its light onto a small spot through a lens. Only there is the energy high enough to engrave or cut cleanly. If the material sits too high or too low, the spot gets larger, the engraving paler and the cut wider. Incorrect focus is therefore often the reason why values from a table do not work for you. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Focus off: if the material sits too low or too high, the beam hits outside the focal point and the laser spot becomes wide\" <text class=\"t\" x=\"16\" y=\"26\" Focus off: wide spot</text <rect class=\"plate\" x=\"16\" y=\"230\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"40\" y=\"196\" width=\"110\" height=\"34\" rx=\"2\"/ <rect class=\"part\" x=\"190\" y=\"92\" width=\"110\" height=\"138\" rx=\"2\"/ <rect class=\"tool\" x=\"73\" y=\"40\" width=\"44\" height=\"34\" rx=\"3\"/ <path class=\"tool\" d=\"M77 74H113L109 82H81Z\"/ <rect class=\"tool\" x=\"223\" y=\"40\" width=\"44\" height=\"34\" rx=\"3\"/ <path class=\"tool\" d=\"M227 74H263L259 82H231Z\"/ <path class=\"fil\" stroke width=\"2\" d=\"M81 82L108.5 196M109 82L81.5 196\"/ <path class=\"fil\" stroke width=\"2\" d=\"M231 82L233.4 92M259 82L256.6 92\"/ <path class=\"fil\" stroke width=\"1.5\" stroke dasharray=\"3 3\" opacity=\"0.6\" d=\"M233.4 92L245 140L256.6 92\"/ <path class=\"bad\" stroke width=\"4\" d=\"M82 196H108\"/ <path class=\"bad\" stroke width=\"4\" d=\"M234 92H256\"/ <text class=\"s\" x=\"80\" y=\"144\" text anchor=\"end\" Focal point</text <text class=\"s bad t\" x=\"95\" y=\"266\" text anchor=\"middle\" Material too low</text <text class=\"s bad t\" x=\"245\" y=\"266\" text anchor=\"middle\" Material too high</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Goal: the focal point sits exactly on the material surface, the laser spot is small\" <text class=\"t\" x=\"16\" y=\"26\" Goal: focus on the surface</text <rect class=\"plate\" x=\"16\" y=\"230\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"90\" y=\"140\" width=\"160\" height=\"90\" rx=\"2\"/ <rect class=\"tool\" x=\"148\" y=\"40\" width=\"44\" height=\"34\" rx=\"3\"/ <path class=\"tool\" d=\"M152 74H188L184 82H156Z\"/ <path class=\"fil\" stroke width=\"2\" d=\"M156 82L170 140L184 82\"/ <path class=\"good\" stroke width=\"5\" d=\"M168 140H172\"/ <text class=\"s\" x=\"192\" y=\"128\" Focal point</text <text class=\"s good t\" x=\"170\" y=\"266\" text anchor=\"middle\" small spot, full energy</text </svg </div <figcaption Schematic illustration. On the left the material sits too low or too high, the beam hits outside the focal point and the laser spot becomes wide. On the right the focal point sits exactly on the surface.</figcaption </figure Focal point and focal length The focal length is the distance from the lens to the point where the beam is narrowest. This point is called the focal point . In front of and behind it, the beam widens again, like an hourglass. The range around the focal point in which the beam is still almost as narrow is called the depth of field . The shorter the focal length, the smaller the spot, but also the smaller the depth of field. With CO₂ lasers you can see this clearly in the usual lenses: Lens CO₂ Laser spot Depth of field Typical use 1.5 inch very small low fine engraving, photos, small text 2 inch small medium all rounder for engraving and cutting 2.5 inch somewhat larger larger cutting medium thicknesses 4 inch large large thick or uneven materials over 10 mm The classification follows the lens guide of the CO₂ manufacturer Thunder Laser. Diode lasers have fixed optics. Here the manufacturer specifies the correct working distance, usually via a spacer or a focus gauge. Focusing manually With many open diode lasers you set the focus by hand: 1. Place the material and align it flat. Fix warped wood at the edges with weights or magnets. 2. Hold the supplied spacer or focus gauge between the laser module and the material surface. 3. Loosen the module, lower it until it rests on the gauge, and tighten it again. 4. Remove the gauge. Do not press on the module afterwards. CO₂ machines often have a focus rod or a small acry"},{"t":"Setting the part cooling fan and cooling correctly for each material","k":"3D printing · Settings","d":"How strongly the part cooling fan should run for PLA, PETG, ABS, ASA, TPU, nylon and PC, what minimum layer time does and how to cool bridges.","u":"/en/3d-printing/settings/part-cooling-fan-settings/","x":"The part cooling fan blows directly onto the freshly printed material. It makes sure the material sets quickly so that overhangs, bridges and fine details hold. Too much cooling, however, weakens the adhesion between layers and promotes warping. The right setting therefore depends heavily on the material. What cooling does More cooling: sharper details, better overhangs and bridges, less deformation on small parts. Less cooling: better layer adhesion, stronger parts, less stress and warping. With PLA, the benefits of cooling almost always outweigh the drawbacks. With ABS, ASA, nylon and PC it is the other way round. PETG sits in between. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Too little cooling: the edges of the overhang curl upwards\" <text class=\"t\" x=\"16\" y=\"24\" Too little cooling</text <rect class=\"plate\" x=\"16\" y=\"246\" width=\"308\" height=\"12\" rx=\"3\"/ <path class=\"part\" d=\"M70 246L110 246L110 233L124 233L124 220L138 220L138 207L152 207L152 194L166 194L166 181L180 181L180 168L194 168L194 155L208 155L208 142L222 142L222 129L236 129L236 116L70 116Z\"/ <path class=\"layer\" d=\"M70 233H110M70 220H124M70 207H138M70 194H152M70 181H166M70 168H180M70 155H194M70 142H208M70 129H222\"/ <path class=\"bad\" stroke width=\"3\" d=\"M174 179Q186 178 188 166M188 167Q200 166 202 154M202 155Q214 154 216 142M216 143Q228 142 230 130M230 131Q242 130 244 118\"/ <text class=\"s bad t\" x=\"170\" y=\"280\" text anchor=\"middle\" Overhang curls upwards</text </svg <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"With part cooling fan: the air cools the fresh line, the overhang stays clean\" <text class=\"t\" x=\"16\" y=\"24\" With part cooling fan</text <rect class=\"plate\" x=\"16\" y=\"246\" width=\"308\" height=\"12\" rx=\"3\"/ <path class=\"part\" d=\"M70 246L110 246L110 233L124 233L124 220L138 220L138 207L152 207L152 194L166 194L166 181L180 181L180 168L194 168L194 155L208 155L208 142L222 142L222 129L236 129L236 116L70 116Z\"/ <path class=\"layer\" d=\"M70 233H110M70 220H124M70 207H138M70 194H152M70 181H166M70 168H180M70 155H194M70 142H208M70 129H222\"/ <rect class=\"tool\" x=\"206\" y=\"58\" width=\"44\" height=\"30\" rx=\"3\"/ <path class=\"tool\" d=\"M219 88H237L231 104H225Z\"/ <path class=\"ink\" stroke width=\"1.5\" stroke dasharray=\"4 4\" d=\"M306.0 64.0L259.0 102.3\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M255.8 98.4L252.0 108.0L262.1 106.2\"/ <path class=\"ink\" stroke width=\"1.5\" stroke dasharray=\"4 4\" d=\"M316.0 86.0L269.5 117.0\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M266.7 112.8L262.0 122.0L272.3 121.2\"/ <text class=\"s\" x=\"324\" y=\"50\" text anchor=\"end\" Airflow</text <text class=\"s good t\" x=\"170\" y=\"280\" text anchor=\"middle\" Material sets quickly</text </svg </div <figcaption Schematic illustration. On the left, the overhang does not set quickly enough and its edges curl upwards. On the right, the part cooling fan cools the freshly printed line immediately.</figcaption </figure Fan values by material The values below come from Bambu Lab's material specifications, the OrcaSlicer base profiles and the Prusa Knowledge Base. They are starting values. Always check your filament manufacturer's specifications too. Material Fan normal operation First layers Note PLA 100 % off full cooling almost always PETG 30 to 60 %, up to 100 % depending on profile off more cooling for detail, less for strength ABS, ASA 0 to 30 %, overhangs up to 80 % off cool only a little, enclosed build volume TPU usually 30 to 100 %, depends heavily on profile off follow the manufacturer's specification PA nylon 0 to 30 %, higher for overhangs off manufacturer's maximum often 60 % PC 0 to 30 %, overhangs up to 60 % off print as hot as possible A few explanations: PETG: Prusa recommends printing the first layers without the fan and then at about half power. For maximum strength the fan can also stay off completely. Bambu Lab gives 0 to 80 % for PETG HF. More in Printing PETG /3d druck/filamente/petg/ . ABS and ASA: Bambu Lab gives 0 to 80 %. The upper end is intended for overhangs a"},{"t":"Setting the print temperature: with a temperature tower","k":"3D printing · Settings","d":"Which nozzle temperature suits your filament? How to tell too hot from too cold, and how to find the best value with a temperature tower.","u":"/en/3d-printing/settings/print-temperature/","x":"The nozzle temperature is one of the most important settings in 3D printing. It determines how well the layers adhere to each other, what the surface looks like and how many strings form. The range on the spool is often wide, for example \"190 to 230 °C\". Where exactly the best value lies depends on the filament, the printer and the speed. Too hot or too cold? Sign Too hot Too cold Strings between parts many few Surface glossy, sometimes smeared matt, rough, gaps Overhangs and bridges sag, curl up usually clean Layer adhesion very good poor, parts break easily Small details blur sharp, but sometimes patchy Noise at the extruder normal clicking, because the material does not melt fast enough In short: too hot looks messy, too cold is unstable. What you are looking for is the lowest value at which the layers still hold together well. Starting values by material Material Nozzle guide value Bed guide value PLA 190 to 220 °C 50 to 60 °C PETG 230 to 250 °C 70 to 85 °C ABS, ASA 240 to 260 °C 90 to 110 °C TPU 210 to 230 °C 40 to 60 °C Start with the middle of the manufacturer's range on the spool. The values above are only a guide. Speed needs heat With fast printers one point plays a big role: the faster you print, the more material has to be melted per second. For that to work, a higher temperature is needed. This is why the profiles for fast printers are often 10 to 20 °C above older recommendations. If you deliberately print more slowly, for example for fine details, you can lower the temperature accordingly. Finding the best value: the temperature tower A temperature tower is a small test model made of several identical floors. Each floor is printed at a different temperature, for example from 230 °C at the bottom to 190 °C at the top in steps of 5 degrees. Here is how to proceed: 1. Get the model: Many slicers have a temperature tower built into the calibration, for example OrcaSlicer. Alternatively there are ready made models on platforms such as Printables. 2. Set the temperature range: a little above and below the manufacturer's figure. 3. Print and compare: Look at strings, overhangs, bridges and the surface. 4. Break test: Try to break off the floors. If a floor breaks very easily between the layers, it was too cold. 5. Choose the value: the lowest value that looks good and is stable in the break test. You should print the tower once for every new filament brand. Even the same materials from different manufacturers can differ by 10 to 20 °C. And the bed temperature? The bed temperature mainly affects the adhesion of the first layer. If it is too low, the print comes loose. If it is too high, with PLA the bottom layer can bulge outwards, the so called elephant's foot. More on this in First layer does not stick /3d druck/probleme/erste schicht/ . For problems with strings, the article on stringing /3d druck/probleme/stringing/ also helps."},{"t":"Setting up infill: how much fill does your print need?","k":"3D printing · Settings","d":"Choosing infill density and pattern: what percentage for decoration and functional parts, which pattern for what, and why walls often matter more than more infill.","u":"/en/3d-printing/settings/infill-settings/","x":"Printed parts are almost never solid inside. Instead, the printer prints a lattice pattern that supports the outer walls and saves weight, material and time. This fill is called infill and is given as a percentage. How much infill do you need? Use Infill density Note Decoration, figures, vases 5 to 15 % enough for the top surface to close Everyday parts, brackets 15 to 25 % good standard Loaded functional parts 30 to 50 % together with more walls Very heavily loaded parts over 50 % rarely worthwhile, see below More than 50 % usually adds little extra strength but costs a lot of time and material. Walls are often more important than infill A common misconception: more infill automatically makes a part stronger. In fact, the outer walls perimeters carry most of the load. A part with 4 walls and 20 % infill is often stronger than one with 2 walls and 50 % infill, and it prints faster. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Top view: two walls and dense infill\" <text class=\"t\" x=\"16\" y=\"24\" 2 walls, dense infill</text <rect class=\"part\" x=\"70\" y=\"70\" width=\"200\" height=\"160\" rx=\"6\"/ <path class=\"ink\" stroke width=\"1.2\" opacity=\"0.6\" d=\"M89 84V216M99 84V216M109 84V216M119 84V216M129 84V216M139 84V216M149 84V216M159 84V216M169 84V216M179 84V216M189 84V216M199 84V216M209 84V216M219 84V216M229 84V216M239 84V216M249 84V216M84 89H256M84 99H256M84 109H256M84 119H256M84 129H256M84 139H256M84 149H256M84 159H256M84 169H256M84 179H256M84 189H256M84 199H256M84 209H256\"/ <rect class=\"fil\" stroke width=\"5\" x=\"72.5\" y=\"72.5\" width=\"195\" height=\"155\" rx=\"5\"/ <rect class=\"fil\" stroke width=\"5\" x=\"79.5\" y=\"79.5\" width=\"181\" height=\"141\" rx=\"4\"/ <text class=\"s \" x=\"170\" y=\"262\" text anchor=\"middle\" more material and print time</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Top view: four walls and sparse infill\" <text class=\"t\" x=\"16\" y=\"24\" 4 walls, sparse infill</text <rect class=\"part\" x=\"70\" y=\"70\" width=\"200\" height=\"160\" rx=\"6\"/ <path class=\"ink\" stroke width=\"1.2\" opacity=\"0.6\" d=\"M111 98V202M137 98V202M163 98V202M189 98V202M215 98V202M241 98V202M98 111H242M98 137H242M98 163H242M98 189H242\"/ <rect class=\"fil\" stroke width=\"5\" x=\"72.5\" y=\"72.5\" width=\"195\" height=\"155\" rx=\"5\"/ <rect class=\"fil\" stroke width=\"5\" x=\"79.5\" y=\"79.5\" width=\"181\" height=\"141\" rx=\"4\"/ <rect class=\"fil\" stroke width=\"5\" x=\"86.5\" y=\"86.5\" width=\"167\" height=\"127\" rx=\"3\"/ <rect class=\"fil\" stroke width=\"5\" x=\"93.5\" y=\"93.5\" width=\"153\" height=\"113\" rx=\"2\"/ <text class=\"s good t\" x=\"170\" y=\"262\" text anchor=\"middle\" often stronger and faster</text </svg </div <figcaption Schematic illustration. Both parts seen from above. On the left, dense infill sits behind only two walls; on the right, four walls carry the load with sparse infill, which is often stronger.</figcaption </figure Rule of thumb for functional parts: 3 to 4 walls, 4 to 5 top and bottom layers, 20 to 30 % infill. Which pattern for what? Pattern Properties Good for Grid simple, fast everyday parts Gyroid wavy, similarly strong in all directions, good for flexible materials functional parts, TPU Cubic strong in all directions, fast functional parts Honeycomb very strong, but slow heavily loaded parts Lightning supports only the top surface, extremely material saving decoration, figures The names differ slightly depending on the slicer, but the patterns are similar everywhere. Infill and surface With very low infill the top surface can sag or develop holes, because the top layers have too little support. The remedy is more top layers or slightly denser infill. If the pattern shows through on the top surface, there are usually too few top layers. Infill with flexible materials With TPU, infill determines how soft a part is. Little infill makes it yielding, a lot of infill makes it firm. This lets you print different hardnesses from one material. More on this in Printing TPU /3d druck/filamente/tpu/ . Reinforcing selectively Many slicers allow y"},{"t":"Silk, matte, glitter, wood: specialty PLA at a glance","k":"3D printing · Filaments","d":"Silk, matte, glitter, marble, wood, glow and fluorescent colours: how specialty PLA looks, what is different when printing and when you need a hardened nozzle.","u":"/en/3d-printing/filaments/specialty-pla-types/","x":"Besides normal PLA there are many types with a special look: silky glossy, matte, with glitter, wood fibres or glowing particles. The base is always PLA, so you print them with similar settings. The additives do change flow behaviour, strength and, in part, the wear on the nozzle. Overview Type Look Printing peculiarity Abrasive? Nozzle Silk silky gloss, often metallic slower and hotter, weaker layer adhesion no from 0.4 mm Matte dull, layer lines are less noticeable somewhat more brittle, print rather hotter hardly, slightly with continuous use from 0.4 mm Glitter, sparkle fine glitter particles particles can clog narrow nozzles slightly 0.4 mm or larger, not 0.2 mm Marble, granite speckles like stone like glitter, particles in the filament slightly 0.4 mm or larger, not 0.2 mm Wood wood like colour and feel prone to clogging, do not leave sitting hot for too long slightly preferably 0.6 mm Glow in the dark glows after charging highly abrasive yes, markedly hardened, from 0.4 mm Fluorescent colours bold neon colours prints like normal PLA no from 0.4 mm The figures are guide values from manufacturer data sheets. What is on the spool takes priority. You will find basic settings for PLA in the article Printing PLA /3d druck/filamente/pla/ . Silk PLA Silk PLA contains additives that provide the silky, often metallic gloss. At the same time they make the material somewhat more elastic and weaken the bond between the layers. When printing: Print more slowly. Many manufacturers recommend 40 to 60 mm/s for the outer walls. Printed too fast, the surface looks dull instead of glossy. Somewhat hotter. Typical is 215 to 235 °C, so often 5 to 15 degrees more than with normal PLA. If you print faster, you tend to need the upper end. Not for loaded parts. Silk parts break more easily along the layers. For decoration, vases and figures that does not matter, but for brackets it does. Silk also tends to string slightly more. If that does not help, see the article on Stringing /3d druck/probleme/stringing/ . Matte PLA Matte types contain fine mineral fillers that scatter the light. The result: hardly any gloss, and layer lines are far less noticeable. That is why matte PLA is popular for figures, models and anything that should \"not look like a 3D print\". When printing: The fillers make parts somewhat more brittle. Cut supports off with side cutters rather than snapping them off. The melt is more viscous. 5 to 10 degrees more than with normal PLA often improves layer adhesion. Light scratches and abrasion marks show up more on dark matte PLA. For occasional use a normal nozzle is enough. If you print a great deal of matte PLA, keep an eye on the nozzle. Glitter, sparkle and marble These types contain solid particles: glitter flakes with sparkle, speckles of inorganic particles with marble and granite. When printing: Manufacturers advise against 0.2 mm nozzles because the particles can clog them. 0.4, 0.6 and 0.8 mm are unproblematic. A larger layer height often makes the effect work better. The particles are mildly abrasive. For occasional prints, brass is enough. If you print many kilograms, a hardened nozzle is worthwhile. Glitter shows to best effect on flat, upward facing surfaces. Wood PLA Wood PLA is PLA with a proportion of fine wood fibres or wood flour, up to about 30 % depending on the product. Parts look wood like, can be sanded and even stained. When printing: Clogging is the main problem. The fibres can lodge in narrow nozzles, especially if the material sits hot in the nozzle for a long time, for example during pauses or very slow movements. Larger nozzle: Many manufacturers state 0.4 mm as possible. With 0.6 mm, wood PLA runs much more smoothly. Temperature: typically 190 to 240 °C. Higher temperatures make the tone darker but increase the risk that the fibres burn and clog the nozzle. After printing, do not leave it idling hot for long. If it still jams, the article Clogged nozzle /3d druck/probleme/duese verstopft/ helps. Glow"},{"t":"Slicer comparison: PrusaSlicer, OrcaSlicer, Bambu Studio and Cura","k":"3D printing · Slicers","d":"Which slicer suits your 3D printer? The four most common free slicers compared, how they are related and a simple decision aid.","u":"/en/3d-printing/slicers/","x":"A slicer is the program that cuts a 3D model into layers and calculates the instructions for the printer from them. All four major slicers are free and open source. The difference lies less in whether they print well and more in how they are operated and for which printers ready made profiles exist. The four slicers at a glance Slicer Developed by Strength Particularly suited to PrusaSlicer /3d druck/slicer/prusaslicer/ Prusa Research mature, very well documented Prusa printers, many open printers OrcaSlicer /3d druck/slicer/orcaslicer/ community founded by SoftFever built in calibration tests, profiles for a great many brands almost all printers, tinkerers Bambu Studio /3d druck/slicer/bambu studio/ Bambu Lab seamless with Bambu printers, app and AMS Bambu Lab printers UltiMaker Cura /3d druck/slicer/cura/ UltiMaker huge printer database, plugins UltiMaker and many older printers All four run on Windows, macOS and Linux. One family with many offshoots Most current slicers are related to each other. That explains why they feel so similar: Slic3r was the origin. PrusaSlicer emerged from it. Bambu Studio builds on PrusaSlicer. OrcaSlicer builds on Bambu Studio and adds many features from the community. Several manufacturers offer their own slicers based on OrcaSlicer, for example Creality Print , ElegooSlicer and Anycubic Slicer Next . Cura is a development of its own and does not belong to this family. Anyone who knows one of these slicers therefore usually finds their way around the others quickly. Which slicer for whom? Do you have a Bambu Lab printer? Start with Bambu Studio. The connection to the printer, the app and the multi colour system works without any setup. If you want more calibration options, you can switch to OrcaSlicer later. Do you have a Prusa printer? PrusaSlicer is tuned to the machines and integrates Prusa Connect directly. Do you have a printer from another manufacturer? Use the manufacturer's slicer first, as it has the right profiles. Very often this is an offshoot of OrcaSlicer. The original version of OrcaSlicer is a good alternative with even more test functions. Do you want to experiment and optimise a lot? OrcaSlicer has the most built in calibration tests, for example for temperature, flow and retraction. The manufacturer's slicer is almost always the best start. It knows your printer, and the profiles are tested. You can switch at any time, because all slicers read the common file formats STL and 3MF. What they all have in common No matter which slicer: the most important settings have similar names everywhere and work the same way. Layer height /3d druck/einstellungen/layerhoehe/ : how thick each layer is Infill /3d druck/einstellungen/infill/ : how the interior is filled Supports /3d druck/einstellungen/stuetzstrukturen/ : where overhangs are supported Print temperature /3d druck/einstellungen/drucktemperatur/ : how hot the nozzle is Terms you do not know are explained in the text when you hover over them, or in the glossary /glossar/ ."},{"t":"STL, 3MF, STEP and G-code: file formats in 3D printing","k":"3D printing · 3D models","d":"Which file formats exist in 3D printing, what STL, 3MF, STEP, OBJ and G-code store and which format you need when.","u":"/en/3d-printing/3d-models/file-formats/","x":"On model platforms you will find STL, 3MF, sometimes STEP, and in the end the slicer produces G code. The formats store very different things: only the shape, the shape with colours and settings, an exact design or finished movement commands for a specific printer. If you know the differences, you know which file to download and which one to pass on. Mesh or CAD: two kinds of 3D data Before we get to the individual formats, one distinction helps: Mesh: The surface consists of many small triangles. A sphere is therefore really a polygon with a very large number of faces. The more triangles, the smoother, and the larger the file. STL, 3MF and OBJ are mesh formats. CAD solid body : The geometry is described mathematically exactly. A circle stays a true circle, a bore has a precise diameter. STEP is the most important neutral CAD format. A mesh prints well but is hard to edit. If you want to enlarge a bore by 0.5 mm, that is tedious in a mesh and quickly done in a STEP file with a CAD program. The formats in detail STL STL is the oldest and most widespread format. It stores only the surface as triangles. No colours, no units, no settings. Because no unit is stored, the slicer assumes millimetres. If a model is suddenly tiny or huge, it was usually exported in inches or metres. 3MF 3MF is the more modern successor. The file is really an archive and can contain much more: several objects and their arrangement on the build plate colours and material assignments for multi colour printing /3d druck/grundlagen/mehrfarbdruck/ units slicer settings such as layer height, infill and supports, if it was saved as a project If a designer offers a print profile, it is usually in a 3MF file. Be careful: a project 3MF from a slicer often contains printer profiles that do not match your machine. Most slicers ask when opening whether you want to load only the geometry or the settings too. With a different printer, \"geometry only\" is the safe way. OBJ OBJ is a mesh format from the world of graphics and animation. It can store colours and textures via additional files. In 3D printing it turns up mainly with models from Blender, 3D scans and coloured figures. Slicers can open OBJ, but it is rarely needed in everyday use. STEP STEP extension .step or .stp is a neutral CAD format. It stores exact solid bodies and can be opened and edited further in almost any CAD program. Many slicers can now import STEP directly and convert it to a mesh in the process. For technical parts that you want to adapt, STEP is the best choice. G code and bgcode G code is what the printer actually executes: a long list of commands such as \"move to X/Y\", \"extrude this much\", \"heat to 215 °C\". The slicer generates it from the model and the settings. Binary G code extension .bgcode is a compressed variant that PrusaSlicer produces for newer Prusa printers. The file is smaller and contains preview images. Bambu printers receive the G code in their own packaging as .gcode.3mf. The formats compared Format Type Stores Editable Typical use STL Mesh geometry only poorly standard for sharing and printing 3MF Mesh geometry, colours, units, settings if applicable poorly print profiles, multi colour printing, projects OBJ Mesh geometry, colours, textures poorly figures, scans, Blender STEP CAD exact solid bodies well technical parts, further design work G code / bgcode Machine commands toolpaths, temperatures, speeds no finished print file for one printer Which format when? Downloading a model: 3MF if available. Otherwise STL. If STEP is also available and you want to change something, take STEP too. Sharing your own model: STL for maximum compatibility, with a 3MF with print profile as a supplement. A STEP file will please everyone who wants to adapt your part. Saving a project: as 3MF from the slicer. That way the arrangement, colours and settings are kept. Sending to the printer: G code or bgcode, generated with the matching printer profile. Do not swap G code between printers G code is"},{"t":"Storing filament: box, vacuum bag and desiccant","k":"3D printing · Filaments","d":"How to keep filament dry: target humidity, airtight box or vacuum bag, which desiccant to use, how to regenerate it, and what a dry box can and cannot do.","u":"/en/3d-printing/filaments/filament-storage/","x":"The short answer: filament should be stored airtight with desiccant , ideally with a small hygrometer in the box. Bambu Lab recommends a humidity below 20 % for most filaments. Whether you use a box with a seal or a vacuum bag is secondary. What matters is that as little damp room air as possible reaches the spool. Why this matters: almost all filaments absorb moisture from the air. Damp filament crackles, strings and prints rough, brittle parts. How to get it dry again is covered in Drying filament /3d druck/filamente/trocknen/ . How quickly does filament get damp? Bambu Lab gives concrete figures in its own wiki: Normal room air usually has 45 to 65 % relative humidity, more in damp weather. At around 55 % room humidity, freshly dried filament absorbs enough moisture again within 2 to 12 hours for print quality to suffer noticeably. In an environment with 20 %, filament stays dry for about 2 to 7 days , depending on how strongly the material absorbs water. The lower the humidity, the longer the filament stays dry. According to Bambu Lab, nylon types such as PA, PA CF and PA12 CF are particularly sensitive. TPU, PC and PVA are also among the materials that absorb water quickly, see the table in Drying filament /3d druck/filamente/trocknen/ welche materialien sind empfindlich . The four building blocks 1. An airtight container Bambu Lab recommends an airtight box, and its wiki gives 4 litres as the size. What matters: A seal all the way round the lid. A simple click lid keeps dust out, but not humidity. This applies to boxes from DIY stores just as much as to boxes from furniture stores such as IKEA. Before buying, check whether the lid has a rubber or silicone seal. Preferably one box per spool or per material. Every time you open it, damp air gets in. Prusa writes of its own drybox that it can take up to an hour after closing for the humidity to drop again. Check the seal. Prusa recommends taking a quick look at the seal every time you open the box, because a badly seated seal lets the humidity rise. For larger collections there are also big boxes for several spools. In that case it is especially worth keeping sensitive materials such as nylon separate, so they are not opened every time. 2. Desiccant Desiccant binds the water from the air in the box. The common types: Desiccant Properties according to Bambu Lab Silica gel with colour indicator Beads change colour when saturated with Bambu from yellow or orange to purple . Can be dried and reused. Molecular sieve Lowers the humidity at room temperature faster and further than silica gel and stays effective at higher temperatures too. Calcium chloride Becomes liquid when saturated. Bambu Lab no longer uses it in new AMS units because of the risk of leaking and corrosion. Bambu Lab advises \"enough effective desiccant\" in the box, and checking it regularly and replacing it when it no longer works. 3. A hygrometer A small digital thermo hygrometer shows you whether the box is still dry. Bambu Lab explicitly recommends this for sensitive materials and gives a target value below 20 %. If the reading rises even though the box is closed, the desiccant is saturated or the seal is leaking. 4. Discipline Put the spool back in the box after printing; do not leave it hanging in the printer for days. Secure the end of the filament , for example in the holes at the edge of the spool. Bambu Lab points out that this stops the winding from loosening and tangling later. With very sensitive materials, print straight from the box or from a dryer. Prusa's drybox and Bambu Lab's wiki describe exactly this set up: the filament runs through an opening or a tube from the closed box to the printer. Why vacuum bags? Many manufacturers supply spools vacuum packed with a desiccant sachet. Polymaker describes it like this: the filament is dried before shipping and then vacuum sealed together with desiccant so that it arrives dry at the customer. For storage at home, the vacuum bag has two advantages: Littl"},{"t":"Stringing in 3D Printing: Avoiding Strings Between Parts","k":"3D printing · Troubleshooting","d":"Fine strands like cobwebs on your print? The most common causes of stringing and how to fix them step by step.","u":"/en/3d-printing/troubleshooting/stringing/","x":"Stringing is fine plastic strands stretched between separate parts of a print, for example between two towers. In harmless cases it is a few wisps that you can remove briefly with a hairdryer or a lighter. In bad cases the part looks as if it were covered in cobwebs. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 300\" role=\"img\" aria label=\"Stringing: during the travel move the hot nozzle pulls strands between two towers\" <text class=\"t\" x=\"16\" y=\"26\" What stringing looks like</text <rect class=\"plate\" x=\"16\" y=\"248\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"50\" y=\"130\" width=\"62\" height=\"118\" rx=\"2\"/ <rect class=\"part\" x=\"218\" y=\"130\" width=\"62\" height=\"118\" rx=\"2\"/ <path class=\"layer\" d=\"M50 142H112M50 154H112M50 166H112M50 178H112M50 190H112M50 202H112M50 214H112M50 226H112M50 238H112M218 142H280M218 154H280M218 166H280M218 178H280M218 190H280M218 202H280M218 214H280M218 226H280M218 238H280\"/ <path class=\"bad\" stroke width=\"1.2\" d=\"M112 140Q165 156 218 144M112 152Q165 170 218 160M112 168Q165 182 218 171M112 181Q165 199 218 186M112 196Q165 208 218 199M112 210Q165 226 218 214M112 160Q165 176 218 182M112 188Q165 196 218 176\"/ <path class=\"bad\" stroke width=\"1.6\" d=\"M104 130Q160 128 249 93\"/ <rect class=\"tool\" x=\"230\" y=\"48\" width=\"38\" height=\"28\" rx=\"3\"/ <path class=\"tool\" d=\"M241 76H257L251 92H247Z\"/ <path class=\"ink\" stroke width=\"1.5\" stroke dasharray=\"5 4\" d=\"M60 66H214\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M206 60L216 66L206 72\"/ <text class=\"s\" x=\"40\" y=\"56\" Travel move, nozzle stays hot</text <text class=\"s bad t\" x=\"170\" y=\"286\" text anchor=\"middle\" Strings between the towers</text </svg <svg viewBox=\"0 0 340 300\" role=\"img\" aria label=\"Goal: with retraction the printer pulls the filament back before the travel move, so no strings form\" <text class=\"t\" x=\"16\" y=\"26\" Goal: clean travel move</text <rect class=\"plate\" x=\"16\" y=\"248\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"50\" y=\"130\" width=\"62\" height=\"118\" rx=\"2\"/ <rect class=\"part\" x=\"218\" y=\"130\" width=\"62\" height=\"118\" rx=\"2\"/ <path class=\"layer\" d=\"M50 142H112M50 154H112M50 166H112M50 178H112M50 190H112M50 202H112M50 214H112M50 226H112M50 238H112M218 142H280M218 154H280M218 166H280M218 178H280M218 190H280M218 202H280M218 214H280M218 226H280M218 238H280\"/ <path class=\"fil\" stroke width=\"4\" d=\"M249 8V48\"/ <rect class=\"tool\" x=\"230\" y=\"48\" width=\"38\" height=\"28\" rx=\"3\"/ <path class=\"tool\" d=\"M241 76H257L251 92H247Z\"/ <path class=\"good\" stroke width=\"1.8\" d=\"M282 46V14M276 22L282 12L288 22\"/ <text class=\"s good t\" x=\"324\" y=\"108\" text anchor=\"end\" Retraction: filament</text <text class=\"s good t\" x=\"324\" y=\"122\" text anchor=\"end\" is briefly pulled back</text <path class=\"ink\" stroke width=\"1.5\" stroke dasharray=\"5 4\" d=\"M60 66H214\"/ <path class=\"ink\" stroke width=\"1.5\" d=\"M206 60L216 66L206 72\"/ <text class=\"s\" x=\"82\" y=\"56\" Travel move</text <text class=\"s good t\" x=\"170\" y=\"286\" text anchor=\"middle\" no strings</text </svg </div <figcaption Schematic illustration. On the left, plastic keeps running out of the hot nozzle during the travel move and pulls strings. On the right, the printer pulls the filament back beforehand.</figcaption </figure Why do the strings form? When the print head moves from one spot to the next without printing, the nozzle is still hot. Liquid plastic can keep running out of the nozzle and pulls a string as it moves away. The more fluid the material and the longer the travel move, the more strings. The causes, sorted by frequency 1. Wet filament Moisture in the filament evaporates in the hot nozzle. The steam pushes material out, even when the printer does not want to print at all. Typical signs: crackling or popping while printing, small bubbles, a rough surface. Solution: Dry the filament. How to do that and which temperatures suit is covered in Drying and storing filament /3d druck/filamente/trocknen/ . Especially with PETG and TPU this is the most common cause. 2. Print temperature too high The "},{"t":"Sublimation explained: polyester, mugs and the right printer","k":"Makerspace · Sublimation","d":"How sublimation works, why it only works on polyester and coated blanks, which temperatures apply and whether a converted inkjet printer is worth it.","u":"/en/makerspace/sublimation/","x":"In sublimation, the ink is not printed onto the material but brought into it. A sublimation printer prints the design onto special paper. In the heat press, the ink turns into a gas and bonds with polyester fibres or a polymer coating. The result cannot be felt and does not wash out. What sublimation can and cannot do Works: Textiles made of polyester. For its Infusible Ink, that is, ready made sublimation sheets, Cricut specifies at least 75 % polyester for good results. Polymer coated blanks: mugs, coasters, mouse mats, aluminium sheets, tiles, MDF boards, key rings, phone cases Does not work: 100 % cotton: The ink does not hold there and washes out. Dark fabrics: Sublimation ink is translucent and disappears on a dark background. For dark textiles, Cricut recommends flex film, and an alternative is DTF /makerspace/dtf/ . Uncoated mugs, wood or metal: Without a polymer layer, the material does not absorb the ink. There is a workaround for cotton: printable flex films such as Siser EasySubli are printed with sublimation ink, cut with a plotter and pressed on. This feels somewhat stiffer, though, and additionally needs a cutting plotter /makerspace/plotter/ . How it works 1. Mirror the design and print it onto sublimation paper, on the side without the screen print. The Sawgrass software mirrors automatically. 2. Let the ink dry. 3. Position: Image side down on the blank, fix with heat resistant tape, protective paper on top. 4. Press with the values for the material. Starting values from Sawgrass at medium pressure: Material Temperature Time Polyester fabric 205 °C 45 s Ceramic mug 180 to 205 °C 150 to 300 s Metal 205 °C 60 s Acrylic 190 °C 60 s MDF 205 °C 60 s Glass, tile, slate 205 °C 420 s Sawgrass stresses that these are only starting points. The blank, press and paper also play a part. Values for further blanks such as tumblers, mouse mats and puzzles are in Sublimation: temperature and time for each blank /makerspace/sublimation/sublimation temperatur zeit/ , and more on the presses in Using a heat press properly /makerspace/heisspressen/ . Which printer? For sublimation you need a printer with sublimation ink and matching paper. Normal inkjet or laser printers do not work with sublimation paper. Sublimation ready from the factory: for example the Epson SureColor SC F100 A4, ink tank with 140 ml bottles , the Sawgrass SG500 A4 and SG1000 A3 with their own colour management, or the Brother SP1. These printers are mostly only available through specialist retailers, which is why the manufacturers do not state a shop price. All the data is in the device overview /makerspace/geraete/ sublimation . Converted inkjet printer: Many people fill an Epson EcoTank with sublimation ink. This is cheaper but has catches: Epson writes that damage caused by third party ink is not covered by the manufacturer's warranty. On top of that come your own colour profiles and the risk of clogged nozzles. Conversion and ready made machines with prices are compared in Sublimation printers: converting an EcoTank or buying a ready made sublimation printer? /makerspace/sublimation/sublimationsdrucker ecotank oder fertig/ . Durability and care Because the ink sits in the fibre, a sublimation design does not crack, flake or wash off. For Infusible Ink textiles, Cricut recommends: wash inside out and cold, mild detergent, no fabric softener and no bleach, iron only at a low temperature so that the ink does not become active again. Cricut describes Infusible Ink mugs as dishwasher safe. Safety Fumes are produced during pressing. For the Mug Press, Cricut writes: use only by adults and in a well ventilated room. Sources Lawson Screen & Digital: What's Sublimation https://www.lawsonsp.com/blogs/support articles sublimation/whats sublimation retailer Cricut: Infusible Ink FAQ https://help.cricut.com/hc/en us/articles/360023925294 Infusible Ink FAQ , Mug Press https://cricut.com/en gb/heat presses/mug press/cricut mug press/2008736.html Sawgrass: Sublimation "},{"t":"Sublimation Printers: Convert an EcoTank or Buy Ready-Made?","k":"Makerspace · Sublimation","d":"Converting an Epson EcoTank to sublimation ink or buying ready-made? Warranty, ink, colour profiles, plus Epson SC-F100, Sawgrass SG500/SG1000 and Brother SP1.","u":"/en/makerspace/sublimation/sublimation-printer-ecotank-or-ready-made/","x":"For sublimation you need an inkjet printer that prints with sublimation ink. There are two ways to get one: fill an ordinary ink tank printer, usually an Epson EcoTank, with sublimation ink yourself, or buy a printer that is built for sublimation from the factory. Both ways work; they differ mainly in warranty, colour management and effort. How sublimation works is covered under Sublimation explained /makerspace/sublimation/ . Way 1: converting an EcoTank For a conversion, you fill the tanks with a third party supplier's sublimation ink instead of Epson ink. Suppliers sell kits with ink, paper and colour profile for individual printer models. Warranty. On its US product pages for EcoTank printers, Epson writes: non original ink can cause damage that is not covered by the manufacturer's warranty. On the German product page for the EcoTank ET 2850, Epson states a 12 month carry in warranty or 30,000 pages, and says nothing there about third party ink. If you want to convert a printer, you should check the warranty terms for your model beforehand or ask Epson support. Ink. The conversion is easiest with a new printer that has never seen ink. The British retailer Ink Experts writes about its conversion kit for the ET 2850: if the printer has already been filled with other ink, the tanks have to be emptied, after which about 40 full colour prints are needed until the new ink has reached the print head. Colour profiles. A converted printer does not know the colours of the foreign ink. Without a matching ICC profile, the colours after pressing are often wrong. Ink Experts supplies profiles matched to printer, ink and paper. The profiles come separately for Windows and macOS, are not interchangeable and do not run on tablets, smartphones or Chromebooks. If you later change ink or paper, you need a new profile. More on profiles in the glossary under ICC profile /glossar/icc profil/ . Maintenance. Sawgrass explains why its sublimation printers should stay switched on permanently: ink tends to clump in the print head and the lines if it stands for a long time. The Sawgrass printers therefore flush a small amount of ink through every 8 to 12 hours. According to Sawgrass, if you print rarely, you should print a nozzle check after a pause of a few weeks. How often a converted printer cleans itself depends on the model. Advantage: Conversions are mostly done to save money on the printer or the ink. Epson itself writes that large ink bottles lower the cost per print, about the 140 ml bottles of its SC F100. Way 2: ready made sublimation printer These machines are built for sublimation from the factory. Ink, driver and colour management come from the manufacturer, and the warranty applies with the intended ink. The wiki lists four models. The manufacturers do not sell them themselves with a price; the prices come from specialist retailers. Epson SC F100 Sawgrass SG500 Sawgrass SG1000 Brother SP1 Format A4 A4, with bypass tray up to 215 x 1,295 mm A3, with bypass tray A3+ designs up to 215 x 355 mm Ink ink tank, 140 ml bottles cartridges, 31 ml cartridges, 31 ml cartridges, 47 ml according to Brother USA Operating systems Windows Windows and macOS Windows and macOS Windows and macOS Colour management Epson driver Sawgrass Print Utility Sawgrass Print Utility any graphics software, optional Artspira app Warranty according to manufacturer 1 year or 6,000 sheets 3 years for purchases from 1 Oct 2025 3 years for purchases from 1 Oct 2025 2 years, commercial use 1 year Price €529.99 at Saturn, in store collection only €606.90 at TransfertPress, with ink set and 100 sheets of paper from €1,586.09 at TransfertPress, with ink set and 100 sheets of paper €388.90 at office partner.de, with cartridges and paper Prices as of 12 October 2026. TransfertPress shows net prices, converted here with 19 % VAT. All data and sources are in the data sheets: Epson SC F100 /makerspace/geraete/epson surecolor sc f100/ , Sawgrass SG500 /makerspace/geraete/sawgrass sg500"},{"t":"Sublimation: temperature and time for each blank","k":"Makerspace · Sublimation","d":"Starting values for polyester, mugs, tumblers, aluminium, mouse mats, puzzles, tiles and coated wood, plus pressure, protective paper, faults and why cotton fails.","u":"/en/makerspace/sublimation/sublimation-temperature-and-time/","x":"In sublimation, three values decide the result: temperature, time and pressure . Which values suit depends mainly on the blank. A polyester shirt is done in under a minute, a ceramic tile needs several minutes. This page collects the manufacturers' starting values for each blank. How sublimation works in principle is covered in Sublimation explained /makerspace/sublimation/ , and how to operate the press in Using a heat press properly /makerspace/heisspressen/ . The most important rule first All manufacturers stress the same thing: their tables are starting values . In its quick reference, Sawgrass writes that good results depend on suitable blanks, a calibrated press, colour management, the blank manufacturer's specifications, testing and practice. If a blank is missing from the table, Sawgrass refers you to the blank's retailer or manufacturer. In its tips for drinkware, Sawgrass names the retailer's product page as the best starting point, because it lists the values for exactly that blank. So the order is: the information on the packaging or product page of the blank , then the table below, then a test print. Starting values for each blank Sawgrass works in Fahrenheit, so the Celsius values are converted and rounded 400 °F is about 204 °C . For Sawgrass, \"medium\" means 40 psi, or about 2.8 bar. Blank Sawgrass quick reference Other manufacturer data Polyester fabric 204 °C, 35 to 40 s, medium HTVRONT: 124 to 210 °C, 35 to 80 s, medium to high Ceramic mug 177 to 204 °C, 150 to 210 s, medium Longforte 11 oz mug, mug press : 180 °C, 3 min, medium. HTVRONT: 177 to 191 °C, 150 to 180 s Stainless steel tumbler no table entry; in Sawgrass project guides 191 to 193 °C, 45 to 55 s, then rotate and press for another 45 s tumbler press or 193 °C, 8 min oven with shrink wrap Longforte metal tumbler, mug press : 180 °C, 60 s, medium. HTVRONT: 177 to 204 °C, twice 60 to 90 s with rotation Aluminium sheet Unisub: 204 °C, 60 s, medium. Other brands: 191 to 204 °C, 60 s. Outdoor panels: 204 °C, 60 to 90 s Longforte aluminium sheet 20 x 30 cm : 190 °C, 80 s, medium Mouse mat polyester surface 204 °C, 45 s, medium Longforte mouse mat 5 mm : 180 °C, 60 s, medium. HTVRONT: 193 to 204 °C, 40 to 60 s Puzzle no table entry Longforte A5 puzzle with felt finish : 200 °C, 60 s, very high pressure. HTVRONT: 177 to 204 °C, 45 to 60 s, medium Tile ceramic or glass 204 °C, 300 to 720 s, medium Longforte ceramic tile 6 x 6 inch : 180 °C, 4 min, medium. HTVRONT: 188 °C, 180 to 480 s Coated wood MDF, hardboard Unisub blanks: 204 °C, 60 s, medium Unisub coasters hardboard according to Heat Press Nation: 204 °C, 60 to 70 s, medium, pre press for 20 s first. Longforte MDF photo panel 8 x 10 inch : 190 °C, 60 s, medium. HTVRONT MDF plaque : 177 to 204 °C, 60 to 90 s The Sawgrass help page sometimes gives different values from the quick reference, for example 205 °C and 45 s for polyester fabric and 420 s for glass and tiles. This shows how far the figures differ even within one manufacturer. As a press manufacturer, HTVRONT gives only broad ranges for most blanks. Longforte is a British blank supplier and says its values apply only to the machines it has tested with. Notes for each blank Polyester fabric: Pre press for 3 to 5 seconds so that moisture escapes. Sawgrass recommends fixing the transfer paper with spray adhesive and using a protective sheet to prevent a shadow image \"ghosting\" . Mugs: Sawgrass presses mugs into a silicone pad and says the time varies depending on the press. HTVRONT advises cooling the mug in warm water or on a cooling plate after peeling off the paper. Tumblers: For a design that wraps all the way round, open the press after half the time and rotate the cup by at least 45 degrees Sawgrass ; HTVRONT says 180 degrees. Remove the lid, straw and plastic parts beforehand, as they can melt. For tapered or curved cups, Sawgrass recommends a sublimation oven with shrink wrap. With stainless steel, peel off the paper straight after pressing,"},{"t":"Support Structures: When You Need Supports and How to Remove Them","k":"3D printing · Settings","d":"Overhangs, bridges and supports explained: when supports are needed, normal or tree supports, the most important settings and tips for removing them cleanly.","u":"/en/3d-printing/settings/support-structures/","x":"An FDM printer cannot print into thin air. Every layer needs something underneath it to rest on. If part of the model projects far beyond the layer below, it needs a support structure, also called support. It is printed along with the model and removed after printing. When do you need supports? Overhangs up to about 45 degrees are managed by almost any printer without supports. Each layer then projects only a small distance beyond the previous one. The shallower the overhang, the more hangs in the air, and beyond a certain angle it no longer works without support. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Overhang up to 45 degrees: each layer projects only a small distance beyond the previous one\" <text class=\"t\" x=\"16\" y=\"24\" Up to 45 degrees: no support</text <rect class=\"plate\" x=\"16\" y=\"246\" width=\"308\" height=\"12\" rx=\"3\"/ <path class=\"part\" d=\"M60 246L140 246L140 234L152 234L152 222L164 222L164 210L176 210L176 198L188 198L188 186L200 186L200 174L212 174L212 162L224 162L224 150L236 150L236 138L248 138L248 126L260 126L260 114L272 114L272 102L60 102Z\"/ <path class=\"layer\" d=\"M60 234H140M60 222H152M60 210H164M60 198H176M60 186H188M60 174H200M60 162H212M60 150H224M60 138H236M60 126H248M60 114H260\"/ <path class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"4 4\" d=\"M140 246V150\"/ <path class=\"ink\" stroke width=\"1.2\" d=\"M140 186A60 60 0 0 1 182.4 203.6\"/ <text class=\"s\" x=\"152\" y=\"178\" 45°</text <text class=\"s good t\" x=\"170\" y=\"280\" text anchor=\"middle\" each layer projects only slightly</text </svg <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Shallow overhang: a support structure stands underneath with a small gap to the part\" <text class=\"t\" x=\"16\" y=\"24\" Shallower: support needed</text <rect class=\"plate\" x=\"16\" y=\"246\" width=\"308\" height=\"12\" rx=\"3\"/ <path class=\"part\" d=\"M60 246V100H240V132H110V246Z\"/ <path class=\"layer\" d=\"M60 110H240M60 121H240M60 143H110M60 165H110M60 187H110M60 209H110M60 231H110\"/ <path class=\"ink\" stroke width=\"1\" opacity=\"0.55\" d=\"M120 138V246M130 138V246M140 138V246M150 138V246M160 138V246M170 138V246M180 138V246M190 138V246M200 138V246M210 138V246M220 138V246M230 138V246\"/ <path class=\"ink\" stroke width=\"2.4\" d=\"M116 138H234\"/ <path class=\"ink\" stroke width=\"1.2\" d=\"M262 150L238 136\"/ <text class=\"s\" x=\"324\" y=\"166\" text anchor=\"end\" small</text <text class=\"s\" x=\"324\" y=\"180\" text anchor=\"end\" gap</text <text class=\"s\" x=\"170\" y=\"280\" text anchor=\"middle\" Support, removed afterwards</text </svg </div <figcaption Schematic illustration. On the left, each layer projects only a small distance beyond the previous one, which almost any printer can manage. On the right, the overhang hangs horizontally in the air and needs a support with a small gap to the part.</figcaption </figure Bridges are a special case: the printer can span straight stretches between two points of support, often several centimetres. This requires good cooling. The best support is none: You can often rotate a model so that fewer supports, or none at all, are needed. Before you switch on support, it is worth looking at the orientation. Normal supports or tree supports? Type Appearance Advantages Disadvantages Normal grid Grid directly under the overhang Stable, simple More material, harder to remove Tree organic Branches like a tree Less material, easier to remove, fewer marks Takes longer to calculate, less suitable for large flat overhangs For figures and organic shapes, tree supports are usually the better choice. For large, flat overhangs on technical parts, normal supports often work more reliably. The most important settings Overhang angle: the angle from which supports are generated. Typically 45 to 55 degrees. Z distance: the gap between support and part, usually 0.1 to 0.25 mm. Larger means easier to release, but an untidy underside. Only on the print bed: supports are built only from the bed and not on the model itself. This avoids marks on visible surfaces. Contact layer"},{"t":"The history of 3D printing: from 1981 to today","k":"3D printing · Trivia & knowledge","d":"From Hideo Kodama via Chuck Hull and Scott Crump to RepRap, Prusa and fast CoreXY printers: how 3D printing moved from the lab to the desk.","u":"/en/3d-printing/knowledge/history-of-3d-printing/","x":"The 3D printer on your desk seems like a new invention. In fact, the idea is over 40 years old. It leads from a Japanese laboratory via a hot glue gun to today's fast multi colour printers. 1981: Hideo Kodama and the liquid resin It begins with Hideo Kodama of the Nagoya Municipal Industrial Research Institute in Japan. In May 1980 he filed a patent, and in November 1981 he described his process in the journal Review of Scientific Instruments: liquid, light sensitive resin is cured with UV light, layer by layer, until a model emerges. This is exactly how resin printers still work today. Kodama's patent, however, never came to be: according to reports, the money was missing to submit the full documents in time. 1984 to 1987: Chuck Hull, SLA and the STL format The American Chuck Hull worked independently on the same idea. In 1984 he filed his patent for stereolithography SLA , and it was granted on 11 March 1986. In the same year he founded 3D Systems, the first company to sell 3D printers commercially. A legacy from that time is probably on your hard drive right now: the STL format. It was developed in 1987 by the Albert Consulting Group for 3D Systems, for their first commercial printers. It is still one of the most common formats today. More on this in File formats /3d druck/3d modelle/dateiformate/ . 1988 to 1992: Scott Crump and the hot glue gun The process that most home printers use has a nice origin story. In 1988 Scott Crump wanted to make a toy frog for his little daughter. He took a hot glue gun filled with a mixture of polyethylene and candle wax and built up the shape layer by layer. That gave him the idea of automating the whole thing. In 1989 he founded the company Stratasys with his wife Lisa and filed the patent on 30 October 1989. It was granted on 9 June 1992. In April 1992 the first machine came onto the market, the \"3D Modeler\". Stratasys had the name Fused Deposition Modeling FDM protected as a trademark. 2005 to 2009: RepRap and the end of the patent In 2005 Adrian Bowyer, a senior lecturer in mechanical engineering at the University of Bath, started the RepRap project. The idea: a printer that can print its own parts and whose plans are free for everyone. On 29 May 2008 the RepRap \"Darwin\" managed to produce a complete set of its own printed parts. Screws, motors and electronics still had to be bought. Because \"FDM\" was a protected trademark, the RepRap community introduced the free term Fused Filament Fabrication FFF . In October 2009 Crump's patent expired. From then on anyone could build and sell FDM printers without paying licence fees to Stratasys. 2008 to 2013: MakerBot and Thingiverse MakerBot came out of the RepRap community. In November 2008 Zach Smith launched the Thingiverse platform, and in January 2009 he founded MakerBot Industries with Bre Pettis and Adam Mayer. The Cupcake CNC kit appeared in April 2009. MakerBot brought 3D printing into schools and living rooms. In June 2013, of all companies, Stratasys bought the company for 604 million US dollars. Thingiverse showed how important a platform for sharing models is, see Finding models /3d druck/3d modelle/modelle finden/ . 2010 to 2017: Prusa The Czech Josef Průša presented the Prusa Mendel in September 2010, a simplified RepRap variant. The Prusa i3 followed in 2012, and in the same year the company Prusa Research. The i3 became the model for countless copies: in 2016 it was considered the most widely used 3D printer in the world. From 2018: the boom in cheap printers With the end of the patent and open build plans, prices fell sharply. A well known example is the Creality Ender 3, which was available on offer in 2018 for around 170 US dollars. 3D printing became a mass hobby. From 2020: fast, CoreXY and colourful The next big wave was about speed. The Klipper firmware introduced input shaping in late 2020, which compensates for vibrations at high accelerations. Community projects such as Voron showed how fast enclosed CoreXY printers can"},{"t":"Tools for 3D Printing: the Basic Kit for Beginners","k":"3D printing · Accessories","d":"What usually comes with the printer, which extra tools you need, what they are for and roughly what they cost. Plus: useful extras for later.","u":"/en/3d-printing/accessories/3d-printing-tools/","x":"A 3D printer does not just print, it also wants looking after, and the finished parts often need some finishing. A small toolbox is enough for that. Most of it costs little and may already be in your drawer. What usually comes in the box Many printers come with a small accessory pack. A current entry level machine from Bambu Lab, for example, comes with a scraper, a filament cutter, a cleaning needle, two hex keys, and oil and grease for the axes. It is similar with other manufacturers: hex keys in the right sizes, sometimes side cutters, a nozzle needle and a spatula. Look in the box before you buy anything. The hex keys supplied fit your printer's screws exactly. You add the rest as needed. The basic kit Tool What for Approx. price Side cutters Cutting filament at an angle, removing support remnants and brim €5 to €15 Spatula or scraper Releasing prints from the bed, removing residue €5 to €15 Deburring tool Cleaning up edges and holes, removing elephant's foot €5 to €10 Tweezers Removing strings and residue at the nozzle, gripping small parts €5 to €10 set Digital calipers Re measuring parts, checking filament diameter, calibrating €15 to €30 Hex and Torx keys Tightening screws on the printer, swapping parts €10 to €25 set Isopropanol, at least 90 % Cleaning the build plate and axes €8 to €15 per litre Glue stick Adhesion promoter or release layer on the plate €1 to €3 Cleaning needles Clearing the nozzle from below €3 to €10 set Sandpaper, grit 120 to 1000 Smoothing surfaces, reducing layer lines €5 to €10 set Needle files Reworking holes and tight spots €10 to €20 set With everything together you come to about €70 to €150, depending on what you already have. Side cutters The tool you will have in your hand most often. You cut the filament at an angle before loading it so that it finds its way into the extruder more easily. Support structures and brim can be snipped off cleanly with them. A model with a flat cut flush cutting leaves smoother edges. Spatula or scraper With magnetic spring steel plates you rarely need it, because most prints come off with a slight flex. For glass or rigid plates it is a must. On PEI plates use only a plastic spatula, as metal leaves scratches. How to release stuck parts safely is explained in Print will not come off /3d druck/probleme/druck loest sich nicht/ . Deburring tool A handle with a rotating, curved blade. You pull it along an edge and take off a fine shaving. Ideal for the bottom edge, for holes and for small burrs at the Z seam. Tweezers Long, curved tweezers reach strings at the hot nozzle without your fingers getting close. They should be heat resistant, so made of metal, not plastic. Calipers Digital calipers are the most important measuring tool. You use them to check whether a part has been printed to size, whether a hole fits or whether the filament diameter is right. A simple model with a 150 mm measuring range is enough for 3D printing. With very cheap units, it is worth looking at the reading accuracy, and a resolution of 0.01 mm is usual. Hex and Torx Many printers use hex screws in 1.5, 2, 2.5 and 3 mm, some also Torx. A set with ball ends makes working in tight corners easier. Only tighten screws hand tight, otherwise plastic parts crack. Isopropanol and glue stick Isopropanol degreases the build plate and removes fingerprints. Use a concentration of at least 90 %, as diluted versions are more likely to leave streaks. Warm water with washing up liquid cleans more thoroughly. A glue stick helps as an adhesion promoter with nylon and PC and as a release layer with PETG on smooth PEI. An ordinary washable glue stick from the stationery shop is usually enough. Cleaning needles Very thin needles with which you poke a partly clogged nozzle clear from below. Important: the needle must be thinner than the nozzle opening, so for a 0.4 mm nozzle, for example, 0.35 mm. Acupuncture needles also work and are cheap. How to go about it is explained in Clogged nozzle /3d druck/probleme"},{"t":"UltiMaker Cura: the classic slicer explained","k":"3D printing · Slicers","d":"What Cura can do, who it suits, how the Marketplace with extensions works and where the limits lie compared with newer slicers.","u":"/en/3d-printing/slicers/ultimaker-cura/","x":"UltiMaker Cura is one of the oldest and best known slicers. It is free, open source and developed by UltiMaker. Unlike PrusaSlicer, Bambu Studio and OrcaSlicer, Cura is a development of its own and does not belong to the Slic3r family. At a glance Developer UltiMaker Cost free Licence Open source LGPL 3.0 Systems Windows, macOS, Linux Origin own development Who is Cura suited to? Owners of UltiMaker printers: full integration with their own devices Owners of older or less common printers: Cura has a very large database of printer profiles, including for older models Anyone who likes extensions: plugins can be installed via the Marketplace, for example for calibration shapes or additional functions What sets Cura apart Two views: \"Recommended\" with a few controls and \"Custom\" with several hundred settings Tree supports that are easy to remove Marketplace with plugins and material profiles Large community with many guides, because Cura was the standard slicer for a long time Limits Newer high speed printers from many manufacturers are often better supported in OrcaSlicer or in the manufacturer's own slicer. Bambu Lab printers cannot be controlled directly from Cura. Fewer built in calibration tests , much of it runs via plugins. Alternatives If you have a current printer from a particular manufacturer, you will usually do better starting with its slicer or with OrcaSlicer /3d druck/slicer/orcaslicer/ . An overview is given in the slicer comparison /3d druck/slicer/ ."},{"t":"Understanding laser power: what watt figures really tell you","k":"Laser · Basics","d":"Optical or electrical power, spot size, power density and combined diodes: what is behind watt figures and what more power actually gives you.","u":"/en/laser/basics/laser-power-explained/","x":"The wattage is in the product name of almost every laser engraver. But it says less than it seems. What matters is which power is meant, what area it hits and which type of laser is behind it. Optical and electrical power A laser converts electrical energy into light. A large part is lost as heat in the process. Only the light counts for the material, that is the optical power output power . The electrical power is what the module draws from the power supply. A few years ago, many diode laser sellers advertised with the electrical power or with an \"equivalent\" figure. A module with 5 W of optical power was then called \"40 W\", one with 10 W optical \"80 W\". You can still find such offers today for replacement modules in online shops, where the optical power is often only given in brackets or in the small print. Reputable manufacturers now state the optical power, and the device names refer to it. Check anyway: Do the technical data explicitly say \"optical power\" or \"output power\"? Does the number fit the power consumption of the power supply? If the power supply delivers 48 W, the module cannot emit 40 W of light. Does the manufacturer give cutting values that match the power? In our device overview /laser/geraete/ , the optical power of the main source is listed for every device. What more power gives you More optical power means more energy per unit of time. This mainly affects two things: Cutting. With more power you cut thicker material or need fewer passes. An example from the manufacturer information: the xTool S1 20W /laser/geraete/xtool s1 20w/ cuts up to 10 mm of cherry wood in one pass, the 40 W version up to 18 mm. On the xTool M2 it is 8 mm of basswood with 10 W and 10 mm with 20 W. Double the power therefore does not mean double the cutting depth. Speed. An engraving that works with 10 W at 100 mm/s can be done at a higher speed with 20 W. This only applies if the mechanics keep up, though. Many gantry diode lasers are limited to 400 to 600 mm/s. Then more power saves little time when engraving, because the machine cannot move any faster. What more power does not give you: finer details. For fine engravings on thin material, too much power is even a hindrance. You then have to turn it down a lot, and some machines work unevenly in the low percentage range. Spot size and power density What matters for the effect on the material is not the power alone but the power density : power divided by the area of the laser spot. The smaller the spot, the more concentrated the energy. With diode lasers the spot usually grows with the power. xTool gives these spot sizes for the S1 variants: Variant Spot size Area as a rectangle Power density, roughly 10 W diode 0.06 x 0.04 mm 0.0024 mm² approx. 4,200 W/mm² 20 W diode 0.08 x 0.06 mm 0.0048 mm² approx. 4,200 W/mm² 40 W diode 0.08 x 0.10 mm 0.008 mm² approx. 5,000 W/mm² 2 W infrared 0.03 x 0.03 mm 0.0009 mm² approx. 2,200 W/mm² The calculation is simplified, because a real laser spot has no sharp edges. But it shows the point: the power density hardly rises with more watts. The larger spot spreads the additional power. That is why a 10 W laser often engraves fine lines just as well as or better than a 40 W laser, while the 40 W laser is clearly ahead when cutting. For the power density to be right, the focus must be set correctly. One millimetre too high or too low and the spot becomes much larger. More on this in the article Laser focus /laser/einstellungen/laser fokus/ . Why strong diode lasers are combined A single blue laser diode typically emits only a few watts. Strong diode lasers therefore combine several diodes and merge their light into one spot with optics. Two examples from the manufacturer information: The xTool D1 Pro 20W /laser/geraete/xtool d1 pro/ combines 4 diodes of 5 W each. The Creality Falcon2 22W /laser/geraete/creality falcon2 22w/ uses 4 diodes of 6 W each and compresses the beam with FAC optics fast axis collimation . The combining has consequences: The spo"},{"t":"Uneven laser engraving: causes and solutions","k":"Laser · Troubleshooting","d":"Engraving sometimes light, sometimes dark, with dark edges or stripes? The most common causes, from focus and mechanics to overscan, and how to fix them.","u":"/en/laser/troubleshooting/uneven-engraving/","x":"One side of the engraving is deep and dark, the other pale. Or the area is even, but the edges are noticeably darker than the middle. Uneven engravings usually have a mechanical or optical cause, and less often it is down to the settings themselves. Work through the points below in order. Which pattern do you see? Appearance Likely cause one side or corner lighter than the rest focus is not right everywhere: material warped or bed crooked dark stripes at the left and right edge no or too little overscan, braking and accelerating at the edges frayed edges, offset lines scanning offset with bidirectional engraving waves or wobble between the lines belt loose, wheels with play, acceleration too high blotchy, pattern follows the wood structure grain, resin, differing density engraving gets weaker overall over time lens dirty light areas despite the same settings power too close to the minimum Focus and uneven material The most common reason for alternating light and dark is the focus. The laser spot is only small and sharp within a narrow range. If the material sits higher or lower at one point, the spot becomes larger there, the energy spreads out and the engraving becomes lighter. Typical triggers: Warped wood: Plywood and solid wood often bow by 1 to 2 mm. With a diode laser that has a short focus range, that is enough for visible differences. Honeycomb bed with dents: A bent honeycomb bed lifts the material at individual points. Items that do not lie flat: cutting boards, coasters with a chamfer, curved lids. What helps: Press the material flat with weights, magnets or hold downs. Place hold downs so that the laser head does not hit them. Check the focus in several places, not just in the middle. With heavily warped material, take a different piece. Constantly working against the material costs more time than it saves. How to set the focus correctly is explained under Laser focus /laser/einstellungen/laser fokus/ . Bed or frame not level If the material lies flat but the engraving is still lighter on one side, the bed or frame may be crooked. With open diode lasers the frame often stands directly on the table. If the table is uneven, the frame warps. Here is how to check: set the focus in one corner and then move the head to the other corners without the laser on. Measure the distance each time with your focus gauge. If the corners differ from one another, the bed is not parallel to the travel plane. Then place the frame on a level board or shim the bed until all corners match. Belts and wheels Loose belts and wheels with play make the laser head swing on after a change of direction. This shows up as waves, wobble or offset lines. Belt tension: The belt should be taut, but not like a guitar string. For some machines the manufacturer specifies a method; stick to it. Wheels eccentric nuts : If the laser head or a carriage wobbles by hand, adjust the eccentric nut slightly until there is no play left and the wheel still turns easily. Acceleration: According to the LightBurn documentation, line wobble often comes from acceleration that is too high. Their solution: lower the Y axis acceleration in the machine settings. Always check the mechanics before you move on to software corrections. The LightBurn documentation also advises ruling out loose belts and other mechanical problems first. Dark edges: overscan When engraving areas, the laser travels back and forth line by line. At the end of each line it has to brake and accelerate again. During that time it moves more slowly, and if it keeps lasing then, the edge receives more energy than the middle. The result: dark stripes on the left and right. Overscanning extends each line beyond the engraving. The laser accelerates outside the area, only fires at full speed and brakes again outside. On GRBL machines you switch on overscanning in LightBurn per layer in the Cut Settings Editor and set the distance. It is calculated as a percentage of the speed. DSP controllers for example Ruida "},{"t":"Using a heat press properly: temperature, time and pressure","k":"Makerspace · Heat presses","d":"Guide values for flex film, sublimation and DTF, pre-pressing, hot or cold peel, protective paper and what to watch out for with safety.","u":"/en/makerspace/heat-presses/","x":"A heat press transfers flex film, sublimation and DTF using three variables: temperature, time and pressure . The right values are always in the instructions for the transfer or film, not in the press. The table below shows typical starting values so that you know which range you are in. Guide values Material Temperature Time Pressure Peel Source Flex film Siser EasyWeed 150 °C 10 to 15 s medium hot or cold Siser via Stahls Flock film Siser StripFlock Pro 155 °C 15 s medium 3 to 4 bar warm Siser data sheet Sublimation on polyester fabric 205 °C 45 s medium no information Sawgrass Sublimation on ceramic mug 180 to 205 °C 150 to 300 s medium no information Sawgrass Sublimation on metal 205 °C 60 s medium no information Sawgrass DTF transfer about 110 to 177 °C 10 to 20 s firm depends on the film Ricoma, Sticker Mule, Wunderlabel With DTF the figures differ especially widely. For polyester and softshell, Wunderlabel gives only 120 to 125 °C, and Ricoma gives up to about 177 °C for cotton. Always follow the instructions of your transfer supplier. Cricut does not publish its values as a table but through the interactive Heat Guide https://cricut.com/heatguide for material and base. With the xTool WonderPress, Nadin experienced a preset that was too hot and a DTF transfer suffered as a result. Her advice: rather follow the transfer supplier's figures than the press's preset. How to proceed 1. Prepare the fabric: Cricut recommends washing new textiles beforehand without fabric softener. This gets shrinkage out of the way and removes residue that interferes with adhesion. 2. Pre press: 5 to 10 seconds without a transfer. This smooths out creases and drives out moisture. 3. Place the transfer: flex film with the glossy carrier side up, sublimation paper with the image side down. Fix sublimation prints with heat resistant tape. 4. Protective paper: baking paper, Teflon sheet or kraft paper between the press and the transfer. According to Wunderlabel, a Teflon sheet may need a little more time or heat. For Cricut Infusible Ink, Cricut recommends white butcher paper and advises against reusing it, because colour can build up on it. 5. Press with the values from the instructions. 6. Peel: With hot peel you peel off the carrier immediately, with cold peel only once everything has cooled down. What your transfer needs is printed on the packaging. Aftercare Wash after 24 hours at the earliest, inside out and without bleach, according to Cricut for flex film. Siser allows up to 60 °C for StripFlock Pro. Iron only from the inside, never directly on the design. Which press? Handheld heat presses such as the Cricut EasyPress are cheap and small, but you provide the pressure yourself by hand. Clamshell and auto presses such as the Cricut AutoPress 2, the HTVRONT Auto Heat Press 2 or the xTool WonderPress set the pressure evenly and open automatically. That is an advantage for batches and for reproducible results. Mug presses such as the Cricut Mug Press are fixed to straight mugs of certain sizes. You will find all presses with data and prices in the machine overview /makerspace/geraete/ heisspressen . Safety Heating plates get hotter than 200 °C. Always put a handheld press on its safety stand. For the EasyPress Mini, Cricut writes that it is not intended for children up to 12 years, and for the Mug Press: adults only and in a well ventilated room, because fumes are produced during the transfer. Zips, buttons and metal parts store heat and can cause burns. Sources Stahls: Siser EasyWeed https://www.stahls.com/heat transfer vinyl easyweed , Hot Peel vs. Cold Peel https://www.stahls.co.uk/blog/hot peel vs cold peel which transfer type works best for you.html retailer Siser: Data sheet StripFlock Pro https://web.archive.org/web/20240703045755/https://igepa.be/media/31/6a/0b/1643424816/H 7119 1 STRIPFLOCK PRO EN.pdf Sawgrass: Sublimation Heat Press Settings https://care.sawgrassink.com/hc/en us/articles/10587333978011 Sublimation Heat Press Settings "},{"t":"UV DTF explained: transfer stickers for almost any surface","k":"UV printing · Basics","d":"UV DTF explained simply: A film, B film, layer structure, laminating and applying. With durability, limits and the comparison with direct printing.","u":"/en/uv-printing/basics/uv-dtf-explained/","x":"UV DTF is a detour that is often the faster route. Instead of printing directly onto the object, you print onto a film and then stick the motif on. As a rule, only the printed motif is transferred, without a visible film border as with a classic sticker. How the result looks depends on the motif, film and cutting, though: a full area motif is of course transferred as a whole area. This also lets you decorate objects that do not fit in the printer. How UV DTF works The process uses two films: A film: the print film. It is coated on one side with adhesive, which is initially covered by a protective film. Printing is done directly onto this adhesive side. A films come in different versions, for example gloss or matt. B film: the transfer film. It is clear and sticks more strongly than the surface of the A film. After printing, it is laminated over the motif. When peeled off, it takes the motif with it, and the A film stays behind. The layer structure On the A film, the following structure typically builds up from bottom to top: 1. Adhesive: already present on the A film. It later sticks to the object. 2. White: makes the motif opaque so that the substrate does not show through. 3. Colour CMYK : the actual motif. 4. Varnish: a clear protective layer on top. It provides gloss and protects the colour from scratches. For transparent objects that are visible from both sides, there is the structure colour, white, colour. The motif then looks coloured from the front and the back. The exact order and whether varnish is always printed depends on the machine and software. Background on this is in Colour, white and varnish /uv druck/grundlagen/farbschichten/ . Without varnish, a UV DTF motif often looks more matt and is more delicate. Many users therefore print varnish as standard. Laminating After printing, the B film is pressed onto the A film. This can be done with a laminator or a laminating roller, and for larger quantities with a UV DTF laminator. Even pressure is important so that no air bubbles or wrinkles form. Some machines laminate automatically straight after printing. Application step by step 1. Clean the surface, for example with isopropyl alcohol. Dust and grease are the most common reasons for poor adhesion. 2. Cut out the motif roughly, leaving a little margin. 3. Peel off the A film. The motif stays on the B film, and the adhesive side is now exposed. 4. Lay the motif on and press it down firmly with a squeegee from the centre outwards. 5. Wait briefly, then peel off the B film slowly and flat. If the motif lifts with it, press it down again. With many adhesives, full adhesion only builds up over hours. Avoid stressing the object during this time if possible. The complete process from motif to finished transfer, suitable substrates and the devices in the wiki are described in Rub ons and transfer stickers with UV DTF /uv druck/workflow/uv dtf rub ons/ . How durable is UV DTF? UV DTF is waterproof and quite scratch resistant. For durability, eufyMake gives a range of 2 to 5 years: the guide to UV DTF https://www.eufymake.com/eu en/blogs/buying guides/uv dtf printing says that transfers last at least two years outdoors without noticeable fading, and many years indoors with good care. In the guide to UV DTF transfers https://www.eufymake.com/uk/blogs/printing guides/how to make uv dtf transfers , eufyMake typically gives 3 to 5 years or longer on clean, smooth surfaces. Outdoors you are therefore more likely at the lower end. Such figures apply to good conditions and suitable substrates. What shortens durability: rough, porous or oily surfaces frequent washing, especially in the dishwasher strong bending or soft material permanent friction, for example on handles Dishwasher resistance is not a given with UV DTF. If a film manufacturer states it, it usually applies to a particular film under particular conditions. Check this yourself before promising it to customers. Advantages and disadvantages compared with direct printing U"},{"t":"UV ink explained: hard, flexible and specialist inks","k":"UV printing · Inks & primers","d":"What UV ink is made of, when you need hard or flexible ink, how to store it properly and what separates original from third-party ink.","u":"/en/uv-printing/inks/uv-ink-explained/","x":"UV ink does not dry, it cures. As long as no UV light falls on it, it stays liquid. Only under the UV lamp does it crosslink into a solid film in a fraction of a second. If you understand how this works, you also understand why storage, ink type and white ink need so much attention. What UV ink is made of UV ink contains no solvent that has to evaporate. It consists of four main components, plus additives: Component Job Typical share Oligomers resins form the backbone of the film, determine hardness and flexibility about 40 to 50 % Monomers make the ink thin enough for the print head and crosslink as well about 10 to 50 % Photoinitiators start curing as soon as UV light hits about 1 to 15 % Pigments provide the colour 0 to 20 % Additives wetting agents, stabilisers, dispersants a few percent The shares vary considerably depending on the manufacturer and ink type. Clear varnish, for example, contains no pigment at all. What matters in practice: the photoinitiators also react to daylight and lamp light. That is why UV ink always belongs in dark containers. Hard, flexible and in between Most manufacturers offer at least two ink families. Hard ink forms a very firm, scratch resistant film. It is the standard ink for rigid materials such as metal, glass, acrylic, wood and hard plastics. On material that bends, however, it cracks. Flexible soft ink stays stretchable after curing. It is intended for leather, synthetic leather, films, tarpaulins and soft plastics. Mimaki, for example, gives an elongation of up to 170 % for its flexible ink LUS 120. The price: the surface is softer and less scratch resistant. Some manufacturers also have a blend in their range that covers both reasonably well. With desktop machines there is often a flexible white ink as an interchangeable option, for example for leather or film. Adhesion is not the same as scratch resistance These two terms are often confused. Adhesion describes how well the ink holds to the material. Scratch resistance describes how hard the surface of the ink itself is. A hard ink can be very scratch resistant and still flake off over large areas if the substrate was not prepared. Primer /uv druck/tinten/primer/ helps against poor adhesion; against scratches, a suitable ink, full curing and a layer of varnish /uv druck/tinten/lack/ help more. Specialist inks Besides CMYK and white there are further channels depending on the machine: Clear varnish Varnish, Gloss : colourless, for gloss, protection and relief Primer as an ink channel : on some machines it is printed along directly instead of being applied by hand Light cyan, light magenta : for finer gradients in photos Orange, red, green : extend the colour gamut on some industrial machines Which channels your machine has is stated in the data sheet. Storage UV ink is more sensitive than ordinary printer ink. Three things count: Light. Store containers closed and dark. Even an open bottle on the workbench can start to cure at the edge. Temperature. Manufacturers' figures differ depending on the ink. Mimaki gives, for example, 0 to 20 °C or 5 to 35 °C depending on the ink. eufyMake states 15 to 35 °C and 30 to 70 % humidity for its cartridges. As a general rule: cool, but not frozen, and no strong fluctuations. Let cold ink come up to room temperature before inserting it. Shelf life. Every bottle or cartridge has a date on it. Many manufacturers state about 12 months from manufacture. Expired ink can cure worse, change colour or clog the print head. So rather buy smaller quantities that you really use up. Store cartridges upright and in their original packaging as long as they are not in the machine. White ink settles White ink contains titanium dioxide. These pigments are heavy and sink to the bottom over time. If that happens in the print head or in the tubes, nozzles clog. If white ink stands for too long, the sediment can become so solid that it can no longer be stirred up. What you can do about it: Shaking: With machines without c"},{"t":"UV print not sticking: ink scratches off","k":"UV printing · Troubleshooting","d":"Can you scratch the UV print off with a fingernail, or does it come off with tape? The most common causes and how to test adhesion reliably.","u":"/en/uv-printing/troubleshooting/uv-print-not-sticking/","x":"The print looks perfect, yet it can be scraped off with a fingernail, or it flakes off after a few days. UV ink does not soak into the material like ink on paper. It cures on the surface and holds only as well as it bonds with that surface. Cause 1: The surface is not clean A single fingerprint is enough for the ink to hold worse at that spot. Typical contamination: Grease and skin oil from handling Release agents from manufacturing, especially on injection moulded plastic parts Silicone, for example on phone cases or coated surfaces Dust and remnants of protective film What helps: wipe the surface with isopropyl alcohol IPA before printing and let it dry, then only handle it with gloves or by the edges. Ink manufacturers such as Fujifilm also recommend IPA for plastics that contain slip agents or plasticisers. With silicone, cleaning alone usually does not help, as silicone is fundamentally very hard to print on. Cause 2: Low surface energy Some plastics repel liquids the way a waxed surface repels water. The measure for this is surface energy, given in mN/m or \"dyn\". For ink to wet well, the surface energy of the material should be clearly higher than the surface tension of the ink. In the printing industry, a gap of about 10 dyn is the guide value. Untreated polyethylene PE is only at about 30 to 32 dyn, and polypropylene PP is also difficult. These materials need pretreatment. With test inks dyne pens you can roughly check the surface energy. What helps: primer, lightly sanding smooth surfaces, and for PE and PP a flame or corona treatment. Which plastics are how difficult is covered under Printing on plastic /uv druck/materialien/kunststoff bedrucken/ . Cause 3: No primer or the wrong one Glass, metal, ceramics and many plastics need an adhesion promoter. Primers come for wiping on, spraying on, or as a separate ink channel in the printer. Important: primers are matched to specific groups of materials. A glass primer often does not help on PP, and vice versa. Apply primer according to the manufacturer's instructions, not too thick Observe the flash off time before you print Test different primers on a sample piece when a material is new Details under Primer in UV printing /uv druck/tinten/primer/ . Cause 4: Undercuring UV ink only becomes solid through enough UV light. If it gets too little, it stays soft inside or slightly tacky on the surface and adheres poorly. Lamp : dirty lamp glass, aged LEDs or a power level that is too low Speed : fast print modes often mean less exposure per layer Layer thickness : many layers of white, colour and varnish on top of each other cure less thoroughly, especially at the bottom Contaminated ink : cleaning fluid in the ink can interfere with curing What helps: clean the lamp glass, check the curing level in the software, choose a slower mode, reduce the layer thickness. A subsequent exposure can help with slight undercuring. Cause 5: Hard ink on flexible material UV inks come in hard and flexible variants. Hard ink is scratch resistant and good for glass, metal, acrylic and wood. On bendable materials such as leather, silicone cases, films or thin plastic, it cracks when bent and flakes off. Flexible ink stretches with the material, but is usually slightly less scratch resistant. Which ink your machine uses is in the datasheet. More on this under UV ink /uv druck/tinten/uv tinte/ . Cause 6: Tested too early Straight after printing, the ink is solid but often does not yet have its full final adhesion. With UV inks, a post cure sets in. For its Uvijet inks, for example, Fujifilm states that maximum adhesion, scratch resistance and chemical resistance are only reached about 24 hours after curing. Other manufacturers give similar periods, so look at the datasheet of your ink. A scratch test straight after printing therefore only tells you so much. Better to test after a day. Testing adhesion properly Tape test: press a piece of strong tape for example packing tape firmly onto the print and "},{"t":"UV printer maintenance: daily care, downtime and cleaning","k":"UV printing · Accessories & care","d":"Maintenance schedule for UV printers: nozzle check, wiper and capping, white ink, room climate, holidays and waste ink. With advice from manufacturer manuals.","u":"/en/uv-printing/accessories/uv-printer-maintenance/","x":"A UV printer forgives very little. A week without care can be enough for nozzles to fail or white ink to settle. The good news: daily care takes only a few minutes. The recommendations here come from manuals and support pages from Mimaki, Procolored, eufyMake and Roland DG. Your machine may differ, and the manual always takes priority. Maintenance schedule When What Why Daily before printing Shake white ink, print a nozzle check, clean if necessary White settles, detect failures early Daily after printing Remove ink splashes, clean as per the manual, head in park position capping Keep nozzles moist, prevent drying on Weekly White maintenance, clean wiper and capping station, check filter at the UV lamp Avoid deposits and droplet deflection Monthly Clean or replace fan and ink mist filters, clean guide rails, check wear parts Dust and ink mist interfere with mechanics and cooling As needed Empty waste tank, replace wiper and pads Avoid overflow and poor cleaning At its core, this breakdown follows the maintenance schedule that Mimaki publishes for the JFX series. Desktop machines have fewer filters, but the principle is the same. Nozzle check The nozzle check prints a fine line pattern for each colour channel. Missing or crooked lines show clogged or deflected nozzles. Print a test before every working day If only individual lines are missing: one normal cleaning, then test again If lines are still missing after two cleanings: do not keep cleaning blindly, it only costs ink. Then read Clogged nozzles /uv druck/probleme/uv duesen verstopft/ Keep a good nozzle check as a comparison Cleaning wiper and capping The wiper wipes the nozzle plate, and the capping station covers the head in the rest position and keeps it moist. Over time both collect ink, which cures. 1. Move the machine to the maintenance position as described in the manual 2. Put on gloves 3. Clean wiper and capping with a cleaning swab and cleaning fluid, no lint shedding cloths 4. Check the edges of the cap for crusts; the cap must close tightly 5. Never touch the nozzle plate with fingers or a dry cloth Replace damaged or hard wipers. For the E1, eufyMake recommends replacement every few months depending on use. Keeping white ink moving White UV ink contains titanium dioxide. The pigments are heavy and settle. The results are streaks, pale white and clogged nozzles. Mimaki recommends shaking white cartridges gently up and down more than 20 times before switching on, wearing gloves and with a cloth over the opening. If less than 2 ml of white is used per day, white maintenance should run at least every two weeks, according to Mimaki UJF 6042 . If the machine stands for more than two weeks, white settles so much, according to Mimaki, that parts have to be replaced. Procolored generally advises shaking ink bottles before filling, because UV ink settles. Many machines have a circulation pump for white. It only runs when the machine is switched on. Room climate Manufacturer Operating temperature Humidity eufyMake E1 15 to 35 °C 20 to 85 % Roland DG UV machines 20 to 32 °C 35 to 80 %, non condensing Cold makes ink viscous, which leads to gaps and clogging. Heat stresses seals and adhesives. Air that is too dry encourages dust and static charge. Roland recommends an air conditioned, dust free room and not placing the machine in direct sunlight. Sunlight can cure ink in the lines. Store ink under the same conditions, cool and dark. Downtime and holidays The manufacturers agree on one point: do not simply switch the printer off and forget about it. Mimaki: For a break of a week or more, do not switch off the main switch. Run the storage cleaning Custody Wash beforehand and empty the waste tank. After the break: shake cartridges, white maintenance, nozzle check. Procolored: Leave the machine switched on daily if possible. If it stands for three days or longer, protect the print head with a moisturising device. eufyMake: When switched on, the E1 cleans itself automatically an"},{"t":"UV printing on metal: aluminium, stainless steel and metal posters","k":"UV printing · Materials","d":"How to UV print on aluminium, stainless steel and coated metal sheets: degreasing, primer, white or metallic effect, protective varnish and tips for metal posters.","u":"/en/uv-printing/materials/uv-printing-on-metal/","x":"Metal is one of the most popular materials in UV printing: signs, business cards, name plates, bottle openers and photos on aluminium. At the same time, bare metal is one of the substrates on which UV ink holds worst without preparation. The difference almost always lies in the surface. Which metal, which surface? What counts for printing is not the metal itself but what is on top of it. Surface Primer Typical use Coated aluminium white, silver, gold usually no photo prints, signs, business cards Sublimation and photo metal usually no metal posters, photo prints Anodised aluminium usually yes, test it name plates, business cards, tools Bare or brushed aluminium yes industrial parts, decoration Stainless steel yes bottles, cups, signs Powder coated metal often yes cups, housings Coated plates are the easiest choice for getting started. Their surface is made for printing. Bare aluminium and stainless steel are harder, because the ink finds hardly any grip on the smooth, dense surface. Preparation: degreasing Metal is almost never truly clean. Machining oil, corrosion protection and fingerprints sit invisibly on the surface. 1. Put on gloves and from now on do not touch the print surface with bare fingers. 2. Wipe in one direction with isopropanol and a lint free cloth. 3. For stubborn grease, wipe a second time with a fresh cloth. 4. Let it dry completely. For protective films on plates: only peel off the film directly before printing. Primer or not? On bare metal and stainless steel you need primer. Manufacturers offer dedicated metal primers or combined glass and metal primers for this. Apply thinly, let it flash off, print promptly. The details are in the article on primer /uv druck/tinten/primer/ . For anodised aluminium it is worth running a test without primer. Some anodised layers accept ink well, others do not. On coated plates, primer is usually unnecessary and can even interfere. After printing, do a tape test on an offcut. Only when that holds do you print the series. With white or without? This is where you decide the look. With a white underprint you get bright, opaque colours. The metal disappears beneath the design. That is right for logos in corporate colours, photos with skin tones and anything where colours must be exact. Without white , the metal shows through the colour. Colours look darker but they shine metallically. A blue becomes a shimmering metallic blue. That is a nice effect for decoration, jewellery pendants or photos with a lot of sky and water. The two can be combined: white only where colours should glow, bare metal where it may shine. You set this up in the file with a separate white layer. How to do that is explained in Ink layers /uv druck/grundlagen/farbschichten/ . A note on very shiny surfaces: mirror polished metal reflects UV light back to the print head. In the worst case this can cure ink on the nozzles. Some devices are designed for this; on others a slightly larger gap helps. Check the manufacturer's specifications. Durability and scratch resistance Well adhering UV ink on metal tolerates handling, wiping and everyday indoor use well. The critical points are: Edges and corners, where ink comes off first Parts that rub against other metal, such as key fobs on a key ring Dishwashers and aggressive cleaners Outdoor use over years A full surface coat of varnish /uv druck/tinten/lack/ protects the colour from scratches. After curing, also give the print some time before you package or stress it. Many manufacturers state at least 30 minutes, and full adhesion builds up over hours in some cases. Metal posters and photo prints on aluminium Photos on aluminium are a classic product. Usually white or silver coated aluminium plates are used. White coated gives classic photo colours, silver the typical metallic look. A few points decide the quality: Resolution: Photos should have about 150 to 300 dpi at final size. Small phone pictures quickly turn soft at A3. Colour profile: Skin tones on metal a"},{"t":"UV printing on plastic: what sticks and what does not","k":"UV printing · Materials","d":"ABS, PC, PVC and PET take UV printing well, PP, PE and silicone hardly at all. Why that is, when primer helps and what matters for phone cases.","u":"/en/uv-printing/materials/printing-on-plastic-uv/","x":"Plastic is not the same as plastic. On some types UV ink holds so well that you can hardly get it off again. On others it almost beads off. The reason is surface energy, and anyone who understands it can estimate before the first print whether a material will work. Why some plastics refuse For ink to adhere, it has to wet the surface. That only works if the surface has a higher surface energy than the ink. It is measured in mN/m, and in the industry often still in \"dyn/cm\". Untreated, PP and PE are at about 30 to 32 mN/m. For good adhesion of inks and adhesives, about 40 mN/m and more is the target. That is why ink beads off PP and PE, similar to water on a waxed surface. Silicone is lower still. With test inks from specialist suppliers you can roughly check the surface energy yourself. For everyday use, though, the tape test after printing is usually enough. The overview Plastic Adhesion Primer Typical products ABS good usually no, test on high gloss housings, toys, signs PC polycarbonate good often no, test phone cases, protective panels PVC very good no foam boards, cards, signage PET, PETG good usually no sheets, films, packaging Acrylic PMMA medium to good often yes stands, signs PP poor special primer boxes, folders, lids PE poor special primer bottles, tubs, chopping boards Silicone very poor hardly effective wristbands, cases, baking moulds TPU medium test, flexible ink soft phone cases, films Acrylic has its own article: Printing on acrylic and glass /uv druck/materialien/acryl glas bedrucken/ . Primer for plastics On ABS, PVC and PET you usually do not need a primer. On glossy or unknown surfaces, a comparison test is still worthwhile: one half with primer, one without. For PP and PE there are special primers of their own. Normal plastic or universal primers are usually not enough there. Even with a special primer, the result remains less certain than with other plastics. Expect that some of the prints will fail the tape test. How to apply primer is covered in the article on primer /uv druck/tinten/primer/ . Before every print, remember: plastic parts straight from production often have release agent on the surface. Clean with isopropyl alcohol, let dry, and do not touch again. Flame and corona treatment In industry, PP and PE are treated with a flame, corona discharge or plasma before printing. This briefly raises the surface energy. The effect fades over time, so the treatment is done shortly before printing. For beginners and small workshops this is rarely an option. Flame treatment with a torch is hard to reproduce, can deform parts and is a safety risk with flammable plastics. If you regularly have to print on PP or PE, UV DTF as a detour is the better choice. More on this in UV DTF /uv druck/grundlagen/uv dtf/ . Phone cases: PC or TPU? Phone cases are a popular product, and the material decides how long the print lasts. Hard cases made of PC can be printed well. The surface is stiff, so the ink does not crack. You can also print transparent PC cases from the inside, so that the design sits protected. Soft cases made of TPU bend when you put them on and take them off. Hard ink cracks in the process, especially at the edges. Flexible ink holds much better. Some cases combine a hard PC back with a soft TPU rim. In that case you only print the hard surface. With silicone cases, you should avoid direct UV printing. Printing on 3D prints UV printing and 3D printing go well together: you print a shape and then give it a coloured design. PLA and PETG generally work well. A few points help: Light filaments in white or light grey save the white underbase. Print direction: the top of a flat plate is often less smooth than the underside on a smooth build plate. The underside is therefore often better suited. Layer lines: UV ink traces grooves. Sand side surfaces smooth if needed. Flat surfaces: ink does not reach deep recesses cleanly. Plan for flat areas. Heat: PLA softens at only about 55 to 60 °C. UV LED lamps get less "},{"t":"UV printing on wood: using the grain or covering it","k":"UV printing · Materials","d":"Which woods suit UV printing, when you need white, how to prepare the surface and what matters with moisture, resin and outdoor use.","u":"/en/uv-printing/materials/uv-printing-on-wood/","x":"Wood is one of the most rewarding materials for UV printing. The ink usually adheres without a primer, and the grain gives every piece its own character. The most important decision is therefore a design one: should the wood show through the motif or not? Which woods are suitable? Light, fine pored woods with an even surface are the easiest. Wood Suitability Note maple, birch, linden very good light, fine grain, colours stay clear beech good slightly reddish base tone pine, spruce medium growth rings of very different brightness, resin possible oak, walnut medium open pores, dark, white usually needed bamboo good smooth, medium colour plywood birch, poplar good cheap, the face veneer decides MDF good very smooth, no grain, edges absorb Plywood is popular for signs, coasters and key rings because it is cheap and dimensionally stable. Pay attention to the quality of the face veneer. Knots, patches and glue residue stand out more after printing. MDF has no grain and an even surface. Raw MDF is brownish, so you need white for clear colours. There is also pre coated or white foiled MDF, which can be printed like a white board. With white or without? UV ink is translucent. On wood this means: the grain shows through light and medium tones. Without white the print looks natural and warm, almost as if stained. This suits rustic signs, logos in dark brown or black and photos with a vintage look. Light colours such as yellow and light blue, however, turn pale or greenish on wood. With white you get clear, opaque colours. The grain disappears under the motif. This is necessary for company logos in exact colours, photos with skin tones and dark woods. Often the nicest: white only under individual elements. The background stays wood, the logo glows. You control this via the white layer in the file, see Colour layers /uv druck/grundlagen/farbschichten/ . Expect extra effort. On wood, white often needs more than one pass for full opacity. That costs ink and time. Preparing the surface 1. Sanding: Sand rough surfaces along the grain, finishing with about grit 220. The ink traces every unevenness. 2. Dusting: Remove sanding dust thoroughly, with compressed air, a tack cloth or a slightly damp cloth. 3. Degreasing: If necessary, wipe lightly with isopropyl alcohol and let it dry. 4. Lay it flat: The board must lie flat. Warped boards have a different distance to the print head depending on the spot, which leads to blurred areas. More on this in Blurred and overspray /uv druck/probleme/unscharf overspray/ . Untreated wood usually needs no primer. Varnished, oiled or waxed wood is different: oil and wax prevent adhesion, and varnish can work well or badly depending on the type. Only a test helps here. Moisture and resin Moisture: Wood should be dry and well seasoned. Damp wood keeps moving after printing, warps and can cause cracks in the ink. Store blanks for a few days in the room where you print. Resin: Resinous woods such as pine have sticky spots at knots and in the growth rings. Ink adheres less well there. The best way to avoid resin pockets and knots is when choosing the wood. Open pores: With oak and other coarse pored woods the ink can run into the pores. In detail this looks uneven. Put fine lettering and lines on fine pored wood instead. Varnish and protection A layer of varnish /uv druck/tinten/lack/ protects the print from abrasion and makes it easier to clean. For coasters and decorative cutting boards this makes sense. A glossy varnish makes colours on wood look richer, a matt varnish looks more natural. Important: do not use printed surfaces as a cutting surface or for direct food contact. UV ink is not intended for that. Outdoor use Wood outdoors is a double challenge. The wood itself moves with every change in weather, swelling and shrinking. The ink only follows this to a limited extent. In addition, wood turns grey in sunlight. For outdoor signs it helps to use: dimensionally stable material such as waterproof glued plywood s"},{"t":"UV printing product ideas: what sells","k":"UV printing · Business & costing","d":"Metal posters, signs, phone cases, promotional items: which products suit UV printing, how much effort they take and what to watch out for.","u":"/en/uv-printing/business/uv-printing-product-ideas/","x":"A UV printer prints on almost anything that is flat enough or can be rotated. That makes the choice wide and the decision hard. Here you will find typical products with their material, effort and pitfalls. Whether a product pays off for you depends on purchasing, time and demand. Nobody can promise you that in general terms. Products at a glance Product Material Effort What to watch out for Metal posters, photo prints coated or bare aluminium low to medium White under colour, primer on bare metal, clean edges Signs aluminium composite, acrylic, PVC, wood low Outdoor use: choose ink and varnish accordingly Acrylic stands acrylic PMMA medium Protective film, mirror reverse side printing, dust Phone cases plastic PC, TPU medium Holder needed, flexible ink for soft cases Drinking bottles, cups stainless steel, aluminium, glass medium to high Rotation or template, primer, washing instructions Ballpoint pens, promotional items plastic, metal low per piece, high for set up Holder for many parts, test small lettering Wooden signs plywood, solid wood, MDF low to medium Grain and absorbency, white as a base Key rings acrylic, wood, metal low many parts per print, hole position Puzzles cardboard or wood with coating medium pre cut blanks, do not let colour break over the cut edges Tiles glazed ceramic medium Primer, degrease the glaze, more for decoration than floors Golf balls plastic ionomer, urethane high special holder, small curved surface, test adhesion A short look at the individual groups Metal posters and photo prints: A big eye catcher with a comparatively simple process. On white coated aluminium you often do not need white, but on bare or brushed metal you do, depending on the effect you want. More under Printing on metal /uv druck/materialien/metall bedrucken/ . Signs: Door signs, house numbers, practice signs. For outdoors, you have to judge durability realistically and communicate it. Acrylic stands and key rings: These are often printed from behind so that the design sits protected behind the acrylic. The design then has to be mirrored, and the colour order is reversed. Phone cases: Many models, many shapes. Without a suitable holder, positioning becomes laborious. Soft cases need flexible ink, otherwise the print cracks. Drinking bottles and cups: Round parts need a rotary fixture or have to be printed in sections. Tell your customers clearly that they do not belong in the dishwasher. More on this in Printing on round objects /uv druck/materialien/rund bedrucken/ . Ballpoint pens and promotional items: Small area, little ink, but a lot of set up effort. Worth it if many identical parts run in one pass. A custom holder for example lasered or 3D printed is almost a must here. Puzzles, tiles, golf balls: Niche products with their own pitfalls. Good for personalisation, but test adhesion and blanks thoroughly before you offer them. Legal matters in brief This is only an overview. For specific questions, legal advice helps. Rights to designs: Print only designs to which you hold the rights or for which a suitable licence exists. This applies to photos, illustrations, fonts and patterns from the internet. For customer designs, have the customer confirm that they hold the rights. The basics of licences such as Creative Commons are in our article Licences and selling /3d druck/3d modelle/lizenzen/ . Trademarks and characters: Logos, club crests, film and game characters are almost always protected. Even if a customer explicitly asks for it: without the permission of the rights holder, a sale can become expensive. People: Photos of people may only be used with their consent. For customer orders, this usually lies with the customer; ask if in doubt. Product safety: Anyone selling products in the EU must ensure they are safe and must give manufacturer details on the product or packaging. Since December 2024 this has been governed by the EU General Product Safety Regulation GPSR . Additional rules apply to certain products, such as "},{"t":"UV Printing Safety: Ink, Fumes and UV Light","k":"UV printing · Basics","d":"Uncured UV ink can trigger allergies. What you should know about gloves, ventilation, UV light, disposal and food contact.","u":"/en/uv-printing/basics/uv-printing-safety/","x":"UV printing is not a dangerous hobby, but it is a chemical one. The liquid ink is the main issue, not the finished print. If you follow a few rules from the start, you will have no problems later. If you ignore them, you risk an allergy that does not go away again. Uncured ink: the real risk UV ink consists largely of acrylates, that is, reactive plastic building blocks, plus photoinitiators and pigments. As long as it is liquid, it can irritate the skin. Above all, though, acrylates can sensitise. That means: after repeated contact, your body develops an allergy. After that, even small amounts are enough to cause eczema, and the allergy as a rule lasts for good. Safety data sheets typically carry the hazard statement H317 for this: \"May cause an allergic skin reaction\". The German statutory accident insurance body BG ETEM Energie Textil Elektro Medienerzeugnisse therefore treats UV inks and varnishes as working materials for which skin protection comes first. Download the safety data sheet SDS for every ink, every primer and every cleaning fluid. Reputable retailers and manufacturers provide it. It lists the specific hazards, the recommended protective equipment and notes on disposal. If there is no safety data sheet for an ink, that is a warning sign. Gloves and skin protection Wear nitrile gloves as soon as you handle ink, cartridges, the print head, wipers or the waste container. BG ETEM names nitrile and polychloroprene as suitable materials. Latex and vinyl are not a good choice. Change disposable gloves after contact with ink, do not wear the same ones all day. Take gloves off correctly, without touching the outside. Wash ink on the skin off immediately with soap and water. Do not put solvents or cleaning fluid on the skin, as this tends to let the substances penetrate deeper. Wear safety glasses when refilling and cleaning if splashes are possible. If ink gets in your eyes, rinse for a long time with water and have it checked by a doctor. Change soiled clothing and wash it separately. If redness, itching or blisters appear on your hands or forearms, that is a serious sign. Have it checked by a doctor and review how you work. Ventilation and smell UV ink smells, especially fresh after printing and during cleaning. Some of the constituents are volatile, and cleaning fluids add to this. Safety data sheets generally require adequate ventilation. In practice this means: Do not run the printer in a bedroom or in a small, unventilated room. Ventilate regularly or use extraction or an activated carbon air filter, if the manufacturer offers one. No eating or drinking at the printer's workspace. Unlike older mercury vapour lamps, modern UV LED lamps produce practically no ozone. The smell comes from the ink. UV LED: do not look into it The curing lamp mostly works in the UVA range around 365 to 405 nm and is very intense. UVA is only partly visible to the eye, so the lamp can be stronger than it looks. Looking directly into the lamp can damage the eyes, and longer exposure also irritates the skin. Never look into the running lamp, not even briefly. Do not bypass covers and safety switches. With open machines, wear UV protective glasses as specified by the manufacturer. Disposal Uncured ink, ink residues from the waste container, used cleaning fluid and soaked cloths do not belong in the drain or in household waste. Printing ink waste containing hazardous substances is hazardous waste. Private: take it to the hazardous waste collection or the recycling centre, well sealed and labelled. Commercial: through a specialist waste disposal company. Collect soaked cloths in a tightly closing container, as BG ETEM also specifies for print shops. Some manufacturers recommend fully curing small residues on cloths under UV light. Whether that is enough in your case is stated in the safety data sheet or can be clarified by your local waste advice service. Empty cartridges and bottles always contain residues and are to be treated in the same w"},{"t":"UV printing, DTF or sublimation? The methods compared","k":"UV printing · Basics","d":"UV printing, DTF and sublimation compared: substrates, durability, costs and when each method pays off. Plus: how they differ from laser engraving.","u":"/en/uv-printing/basics/uv-printing-vs-dtf-vs-sublimation/","x":"Anyone who wants to make personalised products quickly ends up with three methods: UV printing, DTF and sublimation. All three print in colour, but on very different substrates. The right choice depends above all on what you want to print on. The methods in two sentences UV printing: Special ink is printed directly onto the object and cured instantly under UV light. It sits on the surface as a thin plastic film. DTF Direct to Film : The design is printed onto a film with textile ink and white, sprinkled with adhesive powder, the powder is melted on and the whole thing is pressed onto fabric with the heat press. What is meant here is textile DTF, not the similar sounding UV DTF /uv druck/grundlagen/uv dtf/ . Sublimation: Special ink is printed onto transfer paper and transferred with heat into polyester or a polyester coating. The dye becomes a gas and soaks into the material instead of sitting on top. Comparison table UV printing DTF textile Sublimation Substrates wood, acrylic, metal, glass, leather, plastic, stone cotton, polyester, blended fabrics, bags polyester textile, coated blanks mugs, aluminium plates, mouse mats Textiles only to a limited extent, not washable yes, main purpose yes, but only polyester or a high polyester content Colours on dark backgrounds yes, thanks to white yes, thanks to white no, only on a white or light background Feel thin tangible layer, relief possible thin, flexible film layer not tangible, colour in the material Durability indoors very good, outdoors depending on substrate and varnish washable if pressed correctly very good, wash resistant and scratch resistant within the material Entry costs high, desktop machines mostly in the four figure range medium to high printer, powder, oven, press low printer plus press from a few hundred euros Cost per piece ink cheap per design, blanks freely selectable film, powder, ink paper and ink cheap, specialist blanks more expensive Typical products signs, wood pictures, phone cases, acrylic T shirts, hoodies, bags mugs, sports shirts, photo panels, puzzles The cost figures are rough orders of magnitude. For your product, always calculate with real prices for the machine, consumables and blanks. Which method when? UV printing is right if you want to print on hard objects made of a wide variety of materials, often one offs, and do not want the material dictated to you. A wooden board, an acrylic sheet and a metal sign can all be done with the same machine. Tangible effects such as varnish or relief /uv druck/grundlagen/relief textur/ are a particular strength of UV printing. DTF is right if textiles are the focus, especially cotton and dark fabrics. For T shirts DTF is usually the obvious choice. Sublimation is right if you want a cheap way in and can work with polyester or coated blanks. The print is not tangible and very durable. The catch: you are tied to specialist blanks, and it does not work on dark substrates or cotton. Common misunderstandings \"With UV I can print T shirts too.\" Technically the ink ends up on the fabric, but it is stiff and does not survive laundry. There are better methods for textiles. \"Sublimation works on any mug.\" Only on coated sublimation mugs. An ordinary ceramic mug does not take up the dye. \"UV printing is dishwasher safe.\" As a rule not permanently. Heat, alkaline detergent and friction detach the film over time. How it differs from laser engraving A laser removes material or changes the surface through heat. It does not print colour. On wood it leaves a dark burn mark, on coated metal the coating is removed, and on stainless steel a discolouration can result. The result is very durable because nothing is applied, but it is single colour. Laser and UV printing complement each other well: the laser cuts the shape out of wood or acrylic, and the UV printer applies the coloured design. Some workshops use both machines in exactly this way. For business use First think about which products you want to sell, and then choose t"},{"t":"UV-resistant and heat-resistant filament compared","k":"3D printing · Filaments","d":"Heat and UV resistance of PLA, PETG, ABS, ASA, PC, nylon and TPU with manufacturer values. Which material lasts in the car, on the balcony and in the sun.","u":"/en/3d-printing/filaments/heat-and-uv-resistant-filament/","x":"In short: according to manufacturer datasheets, PLA softens at around 55 °C and is suitable neither for a car in summer nor for permanent sun. PETG withstands a little more, around 68 °C, and is usable for many outdoor parts. For parts that get hot and sit in the sun, ASA with 93 to 96 °C and high UV resistance is the obvious choice. PC tolerates even more heat, but ages in sunlight without protection. The details, manufacturer values and pitfalls are below. How hot does it actually get? In a heat test, the ADAC the German automobile club measured parked cars in the sun. The interior of the reference vehicle without sun protection reached 53 °C. According to the ADAC, over 60 °C is also quickly possible in a parked car, and the steering wheel and dashboard got hotter than 70 °C . For 3D prints this means that a phone holder on the dashboard or a clip on the windscreen has to withstand much more than a part in the boot. Outdoors, UV light adds to the heat, bleaching plastics and making them brittle. What the numbers in the datasheet mean Manufacturers specify heat resistance in different ways. The values are therefore not directly comparable. Value What is measured HDT heat deflection temperature, ISO 75 or ASTM D648 Temperature at which a test bar deforms under a defined bending load. Given together with the load, usually 0.45 MPa or 1.8 MPa. At 1.8 MPa the value is the same or lower. Vicat ISO 306 or ASTM D1525 Temperature at which a loaded needle penetrates the sample. Usually higher than the HDT. Glass transition temperature Tg Temperature above which a plastic changes from hard and glass like to soft and rubbery. According to Polymaker, for amorphous plastics it is usually regarded as the highest service temperature. Keep two things in mind when reading: The test specimens are solid. Extrudr writes in its datasheets that temperature resistance was tested at a wall thickness of at least 4 mm. Polymaker points out that thin walls and low infill give way under heat much faster than a thick, dense part made from the same filament. Load matters. A part that just lies around tolerates more than a bracket with a phone hanging from it or one that is clamped under tension. So plan with a margin to the datasheet value. If the expected temperature is close to the HDT, the material is too marginal. The materials compared The values are examples from current manufacturer datasheets. Other brands and variants matte, silk, CF, high speed can differ considerably. What counts is always the datasheet of your spool. Material Heat resistance according to manufacturer UV resistance according to manufacturer PLA /3d druck/filamente/pla/ HDT 55 °C Prusament PLA, 0.45 MPa , HDT 57 °C Bambu Lab PLA Basic, 0.45 MPa low Prusa PETG /3d druck/filamente/petg/ HDT 68 °C Prusament PETG, 0.45 MPa , Vicat 78 °C Extrudr PETG suitable for indoor use and most outdoor applications Prusa ABS /3d druck/filamente/abs/ HDT 85 °C, Vicat 92 °C Extrudr DuraPro ABS lacking Prusa: \"lacks UV resistance\" ASA /3d druck/filamente/asa/ HDT 93 °C Prusament ASA, 0.45 MPa , HDT 96 °C Extrudr DuraPro ASA high Prusa, Polymaker, Extrudr PC /3d druck/filamente/polycarbonat/ 113 °C Prusament PC Blend , according to Polymaker HDT above 115 °C degrades under prolonged sun unless coated Polymaker Nylon PA /3d druck/filamente/nylon/ PA11: HDT 58.7 °C 0.45 MPa , up to 122.5 °C after annealing Prusament PA11 ; PA12: Vicat 142 °C Extrudr DuraPro PA12 PA11: high Prusament TPU /3d druck/filamente/tpu/ HDT 78.6 °C 1.8 MPa , Vicat 101.6 °C Prusament TPU 95A ; Vicat 110 °C Extrudr Flex Medium depends on the grade, see below PLA: only for indoors and shade For Prusament PLA, Prusa gives a temperature resistance of 55 °C and writes that parts lose mechanical strength from above 60 °C. On top of that comes the low UV resistance. Prusa therefore considers PLA not ideal for outdoor use. In a car in summer, even the interior air temperature measured in the ADAC test, 53 °C, is close to this value, a"},{"t":"Vacuum forming with 3D-printed moulds: sheet, master, process","k":"3D printing · Accessories","d":"Which filament the master withstands, draft angles, vent holes, which sheet suits casting moulds and packaging, and common vacuum forming mistakes.","u":"/en/3d-printing/accessories/vacuum-forming-3d-printed-moulds/","x":"In vacuum forming, a plastic sheet is heated, laid over a mould and sucked tight against it by negative pressure. The mould is called a master, tool or template. A 3D printer makes a good vacuum forming tool: the master is printed in a few hours and can be adapted as you like. For it to work, three things count: a master that withstands the heat and can be demoulded , the right sheet for the purpose and air that can escape everywhere . How vacuum forming works Mayku describes the process in five steps: 1. Design and make the master , for example by 3D printing. 2. Clamp the sheet. It lies in the frame over the forming bed. 3. Heat the sheet until it is soft. Mayku advises watching for the moment the sheet just starts to sag. 4. Lower the sheet over the master and apply vacuum. The pump sucks out the air between sheet and master, and the sheet hugs it tightly. 5. Let it cool, demould, trim. There are two kinds of master. A positive master Mayku: \"male\" is raised, and the sheet lies over it on the outside. A negative master \"female\" is a recess, and the sheet is drawn into it. According to Mayku, positive masters are more common in vacuum forming, above all for casting moulds for chocolate, soap, candles or Jesmonite and for simple packaging. The side of the sheet that touches the master is always the dimensionally accurate one. The 3D printed master Material and heat To form, the sheet becomes considerably hotter than a printed part can withstand permanently. Formech gives forming temperatures of 120 to 160 °C for PETG, 150 to 175 °C for HIPS and 150 to 180 °C for ABS. The master only gets the heat briefly, but still deforms if the material softens too early or heats up over several runs in a row. Filament for the master Heat deflection temperature per data sheet Assessment for vacuum forming moulds PLA /3d druck/filamente/pla/ HDT 55 °C Prusament PLA Formech: low heat resistance, only for a quick prototype. Mayku: needs high infill. PETG /3d druck/filamente/petg/ HDT 68 °C Prusament PETG Formech: good for low to medium forming temperatures, recommended ABS /3d druck/filamente/abs/ HDT 85 °C Extrudr DuraPro ABS Formech: better suited than PLA, recommended ASA /3d druck/filamente/asa/ HDT 93 to 96 °C Prusament, Extrudr Formech: similar to ABS, moderate heat PC /3d druck/filamente/polycarbonat/ 113 °C Prusament PC Blend Formech: very good for heat resistant tools, needs a high temperature printer with enclosure Nylon with carbon fibre depending on grade Formech: ideal for strong, long lasting tools TPU /3d druck/filamente/tpu/ depending on grade Formech: unsuitable because it is not rigid The data sheet values and their meaning are covered in detail under UV resistant and heat resistant filament /3d druck/filamente/hitzebestaendiges filament/ . Mayku generally advises a master material that only melts above the temperature of the sheet, ideally above 100 °C. If you work with resin printing /3d druck/resin/ : according to Mayku, standard resin is only good for a single use mould and crumbles with repeated use at around 70 °C. High temperature resin withstands considerably more; Formlabs gives an HDT of 238 °C for its High Temp Resin. On the other hand, according to Mayku, resin delivers such smooth surfaces that no post processing is needed, and Mayku therefore calls resin masters particularly suitable for chocolate moulds. Walls and infill A printed master has to withstand heat and negative pressure without collapsing. For PLA, Mayku expressly names a high infill. If a master has melted during forming, Mayku recommends reprinting it with thicker walls. For early prototypes, according to Mayku, the printed master can also be filled with plaster to make it more stable. How walls and fill work together is explained under Walls and top layers /3d druck/einstellungen/waende deckschichten/ and Infill /3d druck/einstellungen/infill/ . Between two runs the master should, according to Mayku, cool slowly. For moulds made of Grey Resin, For"},{"t":"Varnish in UV printing: gloss, protection and effects","k":"UV printing · Inks & primers","d":"Clear UV varnish lets you print gloss effects, spot varnish, relief and protective layers. What it can do, what it costs and how to set it up in the file.","u":"/en/uv-printing/inks/uv-varnish/","x":"Varnish, often called gloss or clear coat in UV printing, is ink without pigment. It is printed and cured like any other colour, but stays transparent. With it you can make surfaces shine, highlight parts of a design and protect the print from abrasion. What varnish is and how it is printed Many UV printers have a dedicated channel for varnish, alongside CMYK and white. It is usually printed as the last layer over the colour. Because it comes from the print head, it can be placed just as precisely as colour: over the full area, only on individual elements or in several layers on top of each other. Not every machine has a varnish channel. Some desktop machines use the channel for either varnish or primer, others have none at all. Check this in your machine's data sheet. Gloss varnish A full area layer of varnish makes the print glossier and the colours look richer. For photos on metal or wood, this is often the difference between \"printed\" and \"finished product\". How strong the gloss becomes depends on how smoothly the varnish flows before it cures. Many machines offer a dedicated mode for this: the lamp cures a little later, the varnish can level out and becomes glossier. Spot varnish With spot varnish, only part of the design gets varnish. Typical examples are a logo, a lettering or individual details such as water droplets. The contrast between the matt surface and the glossy element creates the effect. It is well known from high quality business cards and packaging. With several layers of varnish on top of each other, a tangible relief is created. This can imitate embossing, braille or textures such as leather or brush strokes. More on this in Relief and texture /uv druck/grundlagen/relief textur/ . Matt instead of glossy A matt look is also possible. For this, the varnish is cured immediately after it lands, before it can flow. The tiny droplets remain as a rough structure and scatter the light. Some machines have a dedicated matt mode for this, with others the effect results from the lamp setting. One note: how matt or glossy the result is depends heavily on the machine, the lamp and the substrate. A test print is unavoidable. Protective function Varnish protects the colour layer beneath it. Scratches end up in the varnish first, not in the colour. This is particularly useful for: key rings, phone cases and other things that are handled a lot metal and photo prints that get cleaned outdoor products, although varnish does not guarantee the UV resistance of the colours Varnish does not make a print indestructible, though. If adhesion to the material is poor, everything flakes off together, varnish included. The foundation remains the right preparation with primer /uv druck/tinten/primer/ . Cost and time Varnish is not free: Ink: Clear varnish costs about as much as coloured ink. Over a full area on large plates, that adds up. Print time: Every layer of varnish is another pass. A glossy varnish with delayed curing often takes even longer. With relief in many layers, the print time can multiply. Maintenance: An additional channel means additional nozzles that have to be looked after. So factor the varnish into your calculation instead of seeing it as a free extra. More on this in the UV costing /uv druck/gewerbe/uv kalkulation/ . Setting up varnish in the file For the print software to know where varnish should go, you need a separate layer or spot colour. The principle is the same in most programs: 1. Set up the design normally in CMYK. 2. Create the area that should get varnish as a separate element, for example as a copy of the logo. 3. Fill this element with a spot colour named the way your RIP or print software expects. 4. Set the layer to \"overprint\" so that the colour beneath is not knocked out. With greyscale it depends on the software: usually a dark spot gets more varnish, while some programs do it the other way round. A test print shows how it works for you. This is how domes and gradients can be created in relief."},{"t":"Walls and top/bottom layers: strength and clean surfaces","k":"3D printing · Settings","d":"How many walls and top and bottom layers you need, why they often matter more than infill, and which wall order gives clean surfaces.","u":"/en/3d-printing/settings/walls-and-top-bottom-layers/","x":"Every printed part consists of a shell and a filling. The shell is the walls on the sides and the closed layers at the top and bottom. They determine how sturdy a part is and what the surface looks like, often more than the infill inside. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Cross section: walls on the sides, top and bottom layers above and below, infill in between\" <text class=\"t\" x=\"16\" y=\"24\" Cross section</text <rect class=\"plate\" x=\"16\" y=\"236\" width=\"308\" height=\"12\" rx=\"3\"/ <rect class=\"part\" x=\"120\" y=\"56\" width=\"180\" height=\"180\"/ <path class=\"layer\" stroke width=\"1.2\" d=\"M128 56V236M292 56V236M136 56V236M284 56V236M136 62H284M136 68H284M136 74H284M136 80H284M136 86H284M136 218H284M136 224H284M136 230H284M136 86H284M136 218H284\"/ <path class=\"ink\" stroke width=\"1.2\" opacity=\"0.55\" d=\"M136 86L158 218L180 86L202 218L224 86L246 218L268 86\"/ <path class=\"fil\" stroke width=\"1.4\" opacity=\"0.8\" d=\"M128 56V236M292 56V236M136 56V236M284 56V236\"/ <path class=\"ink\" stroke width=\"1.2\" d=\"M100 68H150M100 150H162M100 196H128M100 228H150\"/ <text class=\"s\" x=\"94\" y=\"72\" text anchor=\"end\" Top</text <text class=\"s\" x=\"94\" y=\"154\" text anchor=\"end\" Infill</text <text class=\"s\" x=\"94\" y=\"200\" text anchor=\"end\" Walls</text <text class=\"s\" x=\"94\" y=\"232\" text anchor=\"end\" Bottom</text <text class=\"s\" x=\"170\" y=\"272\" text anchor=\"middle\" Shell outside, filling inside</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"One layer from above: two wall lines as an outline, a grid of infill inside\" <text class=\"t\" x=\"16\" y=\"24\" One layer from above</text <rect class=\"part\" x=\"70\" y=\"70\" width=\"200\" height=\"160\" rx=\"6\"/ <path class=\"ink\" stroke width=\"1.2\" opacity=\"0.55\" d=\"M100 86V214M124 86V214M148 86V214M172 86V214M196 86V214M220 86V214M244 86V214M86 100H254M86 124H254M86 148H254M86 172H254M86 196H254\"/ <rect class=\"fil\" stroke width=\"5\" x=\"72.5\" y=\"72.5\" width=\"195\" height=\"155\" rx=\"5\"/ <rect class=\"fil\" stroke width=\"5\" x=\"79.5\" y=\"79.5\" width=\"181\" height=\"141\" rx=\"3\"/ <text class=\"s\" x=\"170\" y=\"56\" text anchor=\"middle\" 2 walls as outline lines</text <text class=\"s\" x=\"170\" y=\"256\" text anchor=\"middle\" Infill as a grid inside</text </svg </div <figcaption Schematic illustration. Left, a vertical section through a part: walls on the sides, closed top and bottom layers, infill in between. Right, a single layer from above with two wall lines and a grid.</figcaption </figure What are walls and top/bottom layers? Walls also perimeters or wall lines are the outline paths the printer draws in every layer along the outer contour and around holes. The outermost one is the outer wall, which is the one you see later. Top and bottom layers are the fully filled layers. The lower ones close the base, the upper ones the top. The infill sits in between. In the slicer, the settings are named slightly differently depending on the program, for example \"Walls\", \"Perimeters\", \"Wall loops\" or \"Top/Bottom shell layers\". The same thing is meant everywhere. Typical values The manufacturers' default profiles are a good starting point. The Bambu Lab profiles for 0.2 mm layer height, for example, use 2 walls, 5 top layers and 3 bottom layers. Prusa generally uses at least 2 perimeters in its profiles. Use Walls Top layers Bottom layers Decoration, figures 2 4 to 5 3 Everyday parts, brackets 2 to 3 5 3 to 4 Load bearing functional parts 3 to 5 5 to 6 4 to 5 Watertight parts 3 to 4 5 to 6 5 The number of layers depends on the layer height. What really matters is the thickness of the top and bottom shell. At 0.2 mm layer height, 5 layers give 1.0 mm. If you print at 0.1 mm, you need twice as many layers for the same thickness. Many slicers therefore also have a minimum thickness for the top and bottom shells for example \"Top shell thickness\" , which automatically creates more layers with thin layers. More on layer height in Choosing the right layer height /3d druck/einstellungen/layerhoehe/ . Rules of thum"},{"t":"Warping in 3D printing: when the corners lift off the bed","k":"3D printing · Troubleshooting","d":"Corners lifting, print curling? Why warping happens, which materials are most affected and what really helps.","u":"/en/3d-printing/troubleshooting/warping/","x":"With warping, the corners of a print bend upwards and come away from the print bed. Sometimes it is only a millimetre or two at one corner, sometimes the whole part tears loose. Particularly annoying: it often only happens after hours, when many layers have already been printed. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Warping: the upper layers shrink as they cool and pull the corners of the part up off the print bed\" <text class=\"t\" x=\"16\" y=\"26\" Corners lift off</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <path class=\"part\" d=\"M64 132Q170 168 276 132V222Q170 258 64 222Z\"/ <path class=\"layer\" d=\"M64 147Q170 183 276 147M64 162Q170 198 276 162M64 177Q170 213 276 177M64 192Q170 228 276 192M64 207Q170 243 276 207\"/ <path class=\"ink\" stroke width=\"1.8\" d=\"M78 104H122M114 98L124 104L114 110M262 104H218M226 98L216 104L226 110\"/ <text class=\"s\" x=\"170\" y=\"82\" text anchor=\"middle\" Layer shrinks as it cools</text <path class=\"bad\" stroke width=\"2\" d=\"M58 224V238M282 224V238\"/ <text class=\"s bad t\" x=\"170\" y=\"280\" text anchor=\"middle\" Corners come off the bed</text </svg <svg viewBox=\"0 0 340 290\" role=\"img\" aria label=\"Goal: the part lies flat, a brim enlarges the adhesion area at the corners\" <text class=\"t\" x=\"16\" y=\"26\" Goal: lies flat</text <rect class=\"plate\" x=\"16\" y=\"240\" width=\"308\" height=\"14\" rx=\"3\"/ <rect class=\"part\" x=\"40\" y=\"234\" width=\"260\" height=\"6\" rx=\"1\"/ <rect class=\"part\" x=\"80\" y=\"150\" width=\"180\" height=\"90\" rx=\"2\"/ <path class=\"layer\" d=\"M80 165H260M80 180H260M80 195H260M80 210H260M80 225H260\"/ <text class=\"s good t\" x=\"324\" y=\"224\" text anchor=\"end\" Brim</text <text class=\"s\" x=\"170\" y=\"120\" text anchor=\"middle\" warm, draught free chamber</text <text class=\"s good t\" x=\"170\" y=\"280\" text anchor=\"middle\" Adhesion holds against the pull</text </svg </div <figcaption Schematic illustration. On the left, the upper layers contract as they cool and bend the corners upwards. On the right, the part stays flat on the bed thanks to a warm environment and a brim.</figcaption </figure Why does the print warp? Plastic shrinks as it cools. Each new layer is laid down hot and contracts as it cools. In doing so it pulls on the layers beneath. This force is greatest at the corners, and if it is stronger than the adhesion to the bed, the corners lift. It follows that the more a material shrinks and the greater the temperature difference between the print and the surroundings, the more warping. Which materials are affected? Material Tendency to warp Enclosed chamber needed? PLA low no PETG low to medium no TPU low no ABS, ASA high yes, strongly recommended PA nylon very high yes PC very high yes, ideally heated With PLA, warping is usually a sign of an adhesion problem. With ABS, ASA, nylon or PC, on the other hand, it is mainly a question of the environment. What helps, ordered by effect 1. Warm, draught free environment The most important lever for engineering materials. An enclosed printer keeps the heat from the print bed in the build volume. Printers with an actively heated chamber go even further. Let the chamber preheat for a few minutes before printing. With an open printer, an enclosure helps, and if need be even a cardboard box over the machine. Above all it matters that there are no draughts, no open window and no air conditioning nearby. 2. Good adhesion to the bed Clean the build plate thoroughly, ideally with washing up liquid and water Bed temperature suited to the material, 90 to 110 °C for ABS and ASA With nylon and PC, a thin film of glue stick on the plate often helps First layer pressed down sufficiently check the Z offset 3. Enable a brim A brim is a flat border around the part in the first layer. It enlarges the adhesion area exactly where the forces are greatest. A width of 5 to 8 mm is usually enough. Afterwards it can be peeled off. 4. Less part cooling With ABS, ASA and PC, strongly reduce the part cooling fan or switch it o"},{"t":"Washing and Curing Resin Prints: How to Do It Right","k":"3D printing · Resin printing","d":"Isopropanol or water, how long to wash, why drying before curing matters and how long to post-cure resin parts under UV light.","u":"/en/3d-printing/resin-printing/washing-and-curing-resin-prints/","x":"A resin print is not finished when it comes out of the printer. It is coated in liquid resin and not yet fully cured. Three steps follow: wash, dry, post cure. Wear gloves and safety glasses while doing so, as described in Resin printing safety /3d druck/resin/sicherheit resin/ . 1. Washing With what: you wash most resins with isopropanol IPA . Formlabs recommends a purity of at least 90 %, Phrozen and Elegoo give 95 %. For water washable resin, water is enough. There are also special washing solutions that are not flammable, for example the Resin Washing Solution from Formlabs with a flash point of 93.5 °C. Two baths: a pre wash bath and a clean final wash bath have proved their worth. In the first, most of the resin dissolves, and in the second the part gets really clean. With every wash the resin content in the IPA rises, and at some point you have to replace it. How long: this depends heavily on the resin, and the figures differ widely. Manufacturer Recommendation Phrozen hobby resins two tanks, about one minute each; in the wash station at least 30 seconds, but under 3 minutes per cycle Formlabs own resins two baths of 10 minutes each, moving the part between them According to Phrozen, soaking in alcohol for too long can make parts brittle. Follow the data sheet of your resin. Wash and cure stations Combination devices wash and cure in one machine. In the Elegoo Mercury Plus, for example, a stirrer that changes direction regularly turns in the closed container with up to 3 l of IPA. For curing you take the container out, and the part rotates on a plate under UV LEDs. The LEDs only switch on when the lid is closed. Such stations save time and keep the IPA covered. 2. Drying Before you cure, the part has to be completely dry. Formlabs gives at least 30 minutes, Phrozen 30 to 60 minutes in air in the shade. Compressed air or a fan speeds this up. If you cure a part that still has IPA with dissolved resin in it, according to Formlabs the solvent is trapped inside, the part does not become properly solid, and the material properties suffer. 3. Post curing Post curing under UV light brings the part to its full strength. With standard resins it is optional according to Formlabs, and with functional resins it is necessary. There is no general time, as it depends on the resin, the lamp and the part size: Elegoo sets the time on the Mercury Plus in 30 second steps and stresses that it differs for each resin. For its Cure Mega curing chamber, Phrozen gives \"one hour or less\". As an example, Prusa gives 3 minutes in the CW1S after drying at 45 °C. Turn the part at least once so that all sides get light. And do not overdo it: according to the resin manufacturer Power Resins, overcured resin becomes more brittle. Parts that then lie in the sun continue to cure. Removing supports Formlabs recommends snipping off the supports only after post curing, because soft parts without supports can warp under light and heat. Wear safety glasses while doing this, as small supports fly off. Sources Formlabs Support: Choosing a solvent https://formlabs.com/ch/support/Choosing the right wash solvent/ , Basic post processing https://formlabs.com/ch/support/SLA basic finishing/ , Using Form Cure https://formlabs.com/eu/support/Using the Form Cure 2nd Generation/ , Using Form Wash https://formlabs.com/ch/support/Using Form Wash/ , Which post processing is required https://formlabs.com/de/support/What post processing is required/ Phrozen Helpcenter: Washing 3D prints https://helpcenter.phrozen3d.com/hc/en us/articles/6325082579865 Washing 3D prints , Cure Mega no longer online Elegoo: Yellowing of transparent resin https://www.elegoo.com/blogs/3d printer user guide/translucent resin is easily turning yellow 3D with us: Elegoo Mercury Plus https://3dwithus.com/elegoo mercury plus wash and uv cure machine Prusa: Resins and safe SLA printing https://blog.prusa3d.com/de/alles was sie schon immer ueber harze und den sicheren sla druck wissen wollten aber nicht"},{"t":"What Does a UV Print Cost? Calculating Ink, Material and Time","k":"UV printing · Business & costing","d":"Ink, primer, blank, labour and machine: how to work out the unit cost of a UV print, with three worked examples: a canvas, a glass trophy and a bulk order of pens.","u":"/en/uv-printing/business/uv-printing-cost-calculation/","x":"Ink is rarely the biggest cost item in UV printing. The blank, your working time and the machine itself often weigh more heavily. If you only count the millilitres, you will price too low. Here you can see which items belong in the unit price and how to work them out for your own products. Calculate it directly: With the UV printing cost calculator /uv druck/kalkulationsrechner/ you enter your own values and see cost price, profit and margin per piece. The cost items at a glance Cost item What it depends on Typical order of magnitude Ink Area, coverage, white and varnish, ink price A few cents to a few euros per piece Primer Material, method of application Usually a few cents Blank Purchase price, quantity Often the biggest single item Electricity Power, print duration Usually under 10 cents per print Maintenance and wear Cleaning, wipers, print head As a flat rate per piece Waste Failed prints, adhesion problems Surcharge in per cent Labour Setting up, positioning, finishing Often the second biggest item Machine Purchase price, service life, number of pieces Depreciation per piece Packaging, shipping Product size, risk of breakage Depends on the product Ink: consumption per m² and per piece Consumption depends on droplet size, coverage and the number of layers. Documented values: For white at 100 % coverage, eufyMake gives 6.42 ml/m² 4 pl , 12.85 ml/m² 8 pl and 28.91 ml/m² 18 pl , depending on droplet size. The printing machine supplier Imago calculates about 15 ml/m² for CMYK at 100 % coverage. According to Imago, solid white underneath increases consumption by 80 to 120 %. Normal designs do not cover every colour at 100 %. A photo in CMYK therefore usually sits well below this maximum value. White and varnish, on the other hand, are often printed over the whole area. With relief and texture, the consumption of white and varnish rises sharply because many layers lie on top of each other. More on this in Colour layers in UV printing /uv druck/grundlagen/farbschichten/ . Prices are roughly between €0.12 and €0.45 per ml. Open systems with bottles are cheaper Procolored lists 500 ml for 59 US dollars, so around 0.12 dollars per ml , cartridges for closed systems are more expensive eufyMake: €29.99 for 100 ml, so €0.30 per ml . More on the differences in UV ink /uv druck/tinten/uv tinte/ . How to calculate it: area in m² × consumption in ml/m² × price per ml. An A4 area is 0.0624 m². On top of that comes ink that does not end up on the product. One example: the eufyMake E1 flushes 0.2 ml per colour channel before a print job if nothing has been printed for at least 12 hours. With six channels that is 1.2 ml, whether a key ring or a poster follows. If you print several jobs in a row, you only pay this once. If you print several pieces in one job, the share is spread further. The most accurate value comes from your print or RIP software. Many programs show the consumption per channel after printing. Note it down for each product. Primer, blank and electricity Primer is needed on smooth surfaces such as glass, metal or some plastics. It is usually applied thinly with a cloth or pen, and the cost per piece is in the cent range. Details under Primer /uv druck/tinten/primer/ . Blanks are often the biggest single item. Always use your real purchase price here, including a share of shipping. Electricity hardly matters. An A3 flatbed printer such as the OMTech Spectra A3+ states a power of 280 W. With 20 minutes of print time and an assumed €0.35 per kWh, a print costs around 3 cents. Maintenance, waste and machine Maintenance and wear: cleaning fluid, wipers, capping parts and, eventually, a new print head. A replacement head costs from a few hundred to over a thousand euros, depending on the type. Include a flat rate per piece. How to work out the annual costs is explained in Running costs of a UV printer /uv druck/kaufberatung/uv folgekosten/ . Waste: failed prints, blanks that slipped, adhesion problems. A reject rate of 5 to 10 % is"},{"t":"What Is 3D Printing? Methods, Process and Costs Explained Simply","k":"3D printing · Basics","d":"How 3D printing works, which methods there are, what you can print with it and what costs to expect when getting started.","u":"/en/3d-printing/basics/what-is-3d-printing/","x":"In 3D printing, an object is not made by milling or casting, but by building up material layer by layer. That is why it is also called additive manufacturing: material is added only where the part will later be. This makes shapes possible that would be hard to produce with other methods, and it makes one off pieces affordable. The three most important methods Method Material Typical for For home use FDM filament printing plastic wire on spools brackets, decoration, prototypes, spare parts yes, the most widespread Resin SLA, MSLA liquid resin that cures with UV light miniatures, jewellery models, very fine detail yes, with care when handling resin SLS powder printing plastic powder fused by a laser robust series parts without supports no, industry In the hobby sector it is almost always about FDM . A plastic wire, the filament, is melted in a hot nozzle and laid line by line onto a build plate. When a layer is finished, the printer moves up a small distance and starts the next. Most content in this wiki relates to FDM. Resin printers work differently: a screen exposes a whole layer of liquid resin at once. The details are much finer, but resin and cleaning are more involved, and when handling uncured resin you need gloves and good ventilation. From model to finished part Every FDM print goes through the same four steps: 1. Get or create a 3D model. Ready made models are available free of charge on platforms such as Printables, MakerWorld or Thingiverse. Your own models are created in CAD programs such as Fusion, Onshape or Tinkercad. 2. Prepare it in the slicer. A slicer cuts the model into layers and calculates the movement commands for the printer from them. Here you set material, layer height, infill and supports. 3. Print. The file gets to the printer via Wi Fi, USB stick or memory card. A small part takes half an hour, a large one can run for over a day. 4. Post process. Remove the part from the print bed, remove support structures, and sand, glue or paint if needed. What can you print with it? The possibilities are broader than many think: Household: brackets, hooks, organisers, spare parts for appliances whose original part no longer exists Hobby: figures, cosplay parts, model making, board game accessories Workshop: jigs, templates, housings for electronics Business: prototypes, small series, personalised products Less suitable are parts that get very hot, come into permanent contact with food or have to withstand high forces. That depends heavily on the material, though: PLA softens even in a hot car, while engineering filaments such as PC or nylon withstand much more. What does getting started cost? Item Rough order of magnitude Entry level printer about €150 to €400 1 kg of filament PLA, PETG about €12 to €30 Accessories scraper, side cutters, isopropanol, storage box about €20 to €50 Electricity per hour of printing usually a few cents Many small parts come from one kilogram of filament. A typical phone holder weighs 20 to 40 grams, so the material cost is in the range of cents to a low number of euros. Current entry level printers largely calibrate themselves. Today the biggest obstacle is rarely the technology, but learning the terms. That is what our glossary /glossar/ is for. What next? If you are just starting out, read next how the first print succeeds step by step /3d druck/grundlagen/erster druck/ . Which design suits you is explained in the article Bed slinger or CoreXY /3d druck/grundlagen/bettschubser oder corexy/ . Which printers there are and how they differ, you can see in the printer comparison /3d druck/vergleich/ ."},{"t":"What is a laser engraver? How it works, uses and starter equipment","k":"Laser · Basics","d":"How a laser engraver works, what you can engrave, cut and mark with it, open and enclosed machines, and what you need to get started.","u":"/en/laser/basics/laser-engraver-basics/","x":"A laser engraver uses a focused beam of light to put designs onto wood, leather, acrylic, slate or metal. Depending on the machine and material, it engraves, cuts out parts or only discolours the surface. This article explains how that works, which designs exist and what you need to get started. How does a laser engraver work? The laser source produces a beam of light with a fixed wavelength. A lens focuses it onto a very small point, often under 0.1 mm. At this point, a lot of power hits a tiny area. The material absorbs the energy, heats up and reacts: it vaporises, burns, melts or changes colour. For this to become a design, the point has to move across the material. There are two principles for this: Gantry: The laser head travels on axes over the work area, similar to a plotter. Galvo: The head stays still and two fast mirrors deflect the beam. The differences are explained in the article Gantry or galvo /laser/grundlagen/portal oder galvo/ . Everything is controlled by software. There you set for each layer the power in percent , the speed and the number of passes the laser makes. Areas are scanned line by line, lines and contours along their path. What can you do with it? There are three basic types of processing. Which of them a machine can do depends mainly on the laser type and power. Processing What happens Typical examples Engraving Material is removed at the surface or burned dark Chopping boards, leather patches, slate coasters, photos on wood Cutting The beam separates the material in one or several passes Plywood kits, acrylic signs, stencils, felt Marking The surface changes colour without any significant material being removed Serial numbers on stainless steel, logos on anodised aluminium Which laser types are there? Five types are common among hobbyists: Diode lasers with blue light around 450 nm. Inexpensive, good for wood, leather, paper and dark acrylic. CO₂ lasers with 10,600 nm. Strong at cutting, also suited to clear acrylic and glass engraving. Fibre lasers with 1064 nm. For metal and many plastics. Infrared modules with 1064 nm and a few watts, often as an add on to diode lasers. For marking metal and plastic. UV lasers with 355 nm. For glass, crystal and sensitive plastics. Designs: open or enclosed For hobby machines, this is the most important decision after the laser type. Open machine Enclosed machine Construction Frame with laser head, material lies exposed Housing with lid, often with a viewing window Laser class usually Class 4 often Class 1, as long as the housing is closed Safety glasses mandatory for everyone in the room not needed for Class 1 in normal operation Smoke spreads through the room, separate extraction needed exhaust connection or filter, usually integrated Workpiece size flexible, large parts possible with a riser limited by the housing, sometimes with a pass through Price cheaper for the same power more expensive An open diode laser such as the Acmer P2 33W /laser/geraete/acmer p2 33w/ is Class 4. According to DIN EN 60825 1, these are lasers with more than 500 mW continuous power. Even scattered reflections can damage the eyes. An enclosed machine such as the xTool S1 20W /laser/geraete/xtool s1 20w/ , on the other hand, is designed as Class 1. This applies only as long as the lid is closed and no riser with an open side is fitted. Important: even an enclosed machine produces smoke and can start a fire. The housing is no substitute for extraction or supervision. What you need to get started The machine alone is not enough. These things go with it: Exhaust air or filter: Lasering produces smoke, odours and harmful substances. The simplest solution is an exhaust hose to the outside. Where that is not possible, an air purifier with suitable filters helps. More in the article Laser extraction /laser/sicherheit/laser absaugung/ . Laser safety glasses: Mandatory for open machines. They must match the wavelength and have a sufficient optical density OD for exactly that range. Glass"},{"t":"What is UV printing? How UV printers work","k":"UV printing · Basics","d":"UV printing explained simply: how the ink cures instantly under UV light, which types of machine exist, what you can print on and where the limits are.","u":"/en/uv-printing/basics/what-is-uv-printing/","x":"A UV printer prints colour directly onto wood, metal, acrylic, glass, leather or plastic. The ink does not dry; it cures under UV light in a fraction of a second. This lets you print on objects that would not fit in any normal printer. The principle Technically, a UV printer is an inkjet printer. A piezo print head fires tiny droplets onto the material. Right next to the print head sits a UV LED lamp that passes over the freshly printed area. The ink contains liquid acrylates and so called photoinitiators. When UV light of the right wavelength hits it, the photoinitiators start a chemical reaction: the liquid components cross link into a solid plastic film. This is called curing. Hardly anything evaporates, and the ink stays on the surface completely. Current machines almost always work with UV LEDs in the range of around 365 to 405 nm, often around 395 nm. Which wavelength is right depends on the photoinitiators in the ink. For this reason you should only use ink that is approved for your machine. The result: no waiting for drying, no smearing, and you can print several layers directly on top of each other. <figure class=\"illu\" <div class=\"illu row\" <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Print head and UV LED travel together: the head places liquid ink droplets, and the LED behind it cures them immediately\" <text class=\"t\" x=\"16\" y=\"26\" Printing and curing</text <path class=\"ink\" stroke width=\"1.4\" d=\"M120 54H250M242 49L252 54L242 59\"/ <rect class=\"tool\" x=\"104\" y=\"96\" width=\"58\" height=\"30\" rx=\"3\"/ <rect class=\"tool\" x=\"176\" y=\"86\" width=\"64\" height=\"44\" rx=\"3\"/ <text class=\"s\" x=\"133\" y=\"88\" text anchor=\"middle\" UV LED</text <text class=\"s\" x=\"208\" y=\"78\" text anchor=\"middle\" Print head</text <path class=\"ink\" stroke width=\"1.2\" stroke dasharray=\"3 4\" d=\"M118 130L92 194M133 130V194M148 130L170 194\"/ <circle class=\"part\" cx=\"196\" cy=\"146\" r=\"3.5\"/ <circle class=\"part\" cx=\"214\" cy=\"160\" r=\"3.5\"/ <circle class=\"part\" cx=\"204\" cy=\"178\" r=\"3.5\"/ <rect class=\"part\" x=\"16\" y=\"200\" width=\"308\" height=\"30\" rx=\"2\"/ <path class=\"fil\" stroke width=\"4\" d=\"M24 198H180\"/ <path class=\"fil\" stroke width=\"4\" stroke dasharray=\"5 5\" d=\"M186 198H226\"/ <rect class=\"plate\" x=\"16\" y=\"230\" width=\"308\" height=\"12\" rx=\"3\"/ <text class=\"s\" x=\"100\" y=\"266\" text anchor=\"middle\" cured</text <text class=\"s\" x=\"206\" y=\"266\" text anchor=\"middle\" liquid</text </svg <svg viewBox=\"0 0 340 280\" role=\"img\" aria label=\"Because each layer is solid immediately, several layers can be printed directly on top of each other\" <text class=\"t\" x=\"16\" y=\"26\" Instantly solid: layer on layer</text <rect class=\"part\" x=\"50\" y=\"110\" width=\"180\" height=\"20\"/ <rect class=\"plate\" x=\"50\" y=\"130\" width=\"180\" height=\"20\"/ <rect class=\"part\" x=\"50\" y=\"150\" width=\"180\" height=\"20\"/ <rect class=\"tool\" x=\"30\" y=\"170\" width=\"220\" height=\"40\" rx=\"2\"/ <text class=\"s\" x=\"242\" y=\"125\" Layer 3</text <text class=\"s\" x=\"242\" y=\"145\" Layer 2</text <text class=\"s\" x=\"242\" y=\"165\" Layer 1</text <text class=\"s\" x=\"262\" y=\"195\" Material</text <text class=\"s\" x=\"170\" y=\"256\" text anchor=\"middle\" no waiting, no smearing</text </svg </div <figcaption Schematic diagram. On the left, the print head and UV LED travel together over the material: the head places liquid droplets and the UV light behind it cures them immediately. On the right, this means several layers lie directly on top of each other.</figcaption </figure Types: flatbed, roll, UV DTF Type How it works Typical for Flatbed Material lies on a table, the head travels over it Panels, signs, phone cases, small parts Roll roll to roll Material runs from the roll through the machine Films, banners, wallpaper, more large format UV DTF Printing onto a transfer film, which is then stuck on curved or awkward objects Many desktop machines are flatbed printers with add on modules: a rotary unit for bottles and cups and, in some cases, a film option for UV DTF. More on this in UV DTF explained /uv druck/grundlagen/uv dtf/ . Print heads in rough"},{"t":"Where to Put a 3D Printer: Desk, Cabinet, Noise and Living Space","k":"3D printing · Basics","d":"Where to put a 3D printer at home: surface, cabinet and enclosure, heat and fire safety, noise levels, emissions, bedrooms and what differs for resin printers.","u":"/en/3d-printing/basics/where-to-put-a-3d-printer/","x":"A 3D printer often runs for hours, makes noise, gets hot and gives off particles and gases. Where it stands therefore decides print quality, safety and whether it gets in the way in everyday life. This article is the counterpart to Laser in the home /laser/sicherheit/laser in der wohnung/ : what you should sort out before the printer gets its permanent spot. The spot at a glance Point What to look for Surface stable, level, non flammable, no papers or curtains nearby Room can be ventilated, no draught directly on the printer, not damp Distance not right next to where you sit, not in the bedroom Cabinet only with heat dissipation and nothing flammable inside Safety smoke alarm in the room, socket without an overloaded power strip Surface and desk The printer needs a stable, level surface . Creality states in its manuals that strong vibrations and an unstable stand reduce print quality. A wobbly table transfers the vibrations of fast movements into the print, see also Your first 3D print /3d druck/grundlagen/erster druck/ . Plan for the weight: According to the manufacturer, a Bambu Lab A1 /3d druck/drucker/bambu lab a1/ weighs 8.3 kg, an enclosed Anycubic Kobra S1 /3d druck/drucker/anycubic kobra s1/ 18 kg and a Prusa CORE One+ /3d druck/drucker/prusa core one plus/ 22.5 kg. Large machines with a heated chamber weigh over 30 kg. A light shelf board is not made for that. Bed slingers need room to move: On open printers such as the A1, the bed moves out to the front and back. Space must be left free in front of and behind the machine. Non flammable base: For schools, the DGUV the German statutory accident insurance recommends a fireproof base and no flammable objects such as notepaper or curtains close by, especially when the printer runs unattended. The same applies at home. A stone slab or tile under the machine is a simple solution. Distance from the wall: Fans and exhaust openings must not be blocked. How much clearance is needed is stated in your machine's manual. Room climate In its manuals, Creality recommends a well ventilated, cool and low dust place, away from heat sources and from flammable or explosive substances. A few practical points: No draughts: An open window or an air conditioner directly at the printer makes parts cool unevenly. Corners lift, see Warping /3d druck/probleme/warping/ . No heat sources: Creality explicitly mentions keeping away from heat sources. These include radiators and a spot in full sun. Humidity: Many filaments absorb water from the air. In damp cellars a dry box is worthwhile, see Drying filament /3d druck/filamente/trocknen/ . Cabinet and enclosure A cabinet or an enclosure dampens noise, keeps dust away and protects against curious hands. Prusa gives exactly these reasons, plus protecting children and pets from hot parts. There are, however, three points you must keep in mind. 1. Heat. In a closed space, the heat of the print bed builds up. For ABS, ASA and nylon this is intended. PLA and PETG, on the other hand, tolerate raised temperatures badly. Prusa writes that manufacturers therefore often recommend removing the top cover or leaving the door open for PLA, Prusa itself included for the MK4S enclosure. According to the manufacturer, the Prusa CORE One is built so that PLA works with the door closed, but a small ventilation opening at the top has to be left open. If you put an open printer in a cabinet, the rule for PLA is therefore: the heat must be able to escape. 2. Power supply and electronics. For its enclosure made from IKEA Lack tables, Prusa points out that the power supply has to sit outside, because the temperature behind acrylic glass walls would otherwise be above the power supply's recommended operating temperature. According to Prusa, this is not necessary with a tent made of porous fabric, because it does not get as warm. 3. Fire safety. A wooden cabinet is itself flammable. The DGUV names overheating of the machine and flammable objects nearby as fire hazards. For the"},{"t":"Which 3D printer is right for me? A decision guide","k":"3D printing · Buying guide","d":"Not a model recommendation, but the questions to settle before buying: material, build volume, colours, budget, space and ecosystem.","u":"/en/3d-printing/buying-guides/which-3d-printer/","x":"There is no single best 3D printer. There is only one that fits what you plan to do, how much space you have and how much you enjoy tinkering. Instead of a model, here you get the questions you can use to narrow down the choice yourself. 1. What do you want to print? The material matters more than any other criterion, because it determines which design you need. You mainly print This is enough Why PLA, PETG, TPU open printer These materials do not need a warm environment also ABS, ASA enclosed printer The enclosure retains heat and prevents warping nylon, PC, fibre reinforced engineering filaments with carbon or glass fibres, CF/GF printer with a heated chamber These materials shrink a lot and need constantly warm air For fibre reinforced filaments you also need a hardened nozzle, because the fibres wear down brass quickly. If you are unsure which materials you will need later: most people print mainly PLA and PETG. 2. How big are your parts? The build volume is given in millimetres, for example 256 × 256 × 256 mm. For brackets, organisers and figurines, an edge length of 180 to 250 mm is plenty. Larger build volumes are worthwhile for helmets, cosplay or long functional parts. Keep in mind: large parts can often be split and glued, and a bigger printer needs more space, more power to heat up and costs more. 3. Do you need several colours? Multi colour printing is convenient, but not a must. Simple colour changes between layers also work without extra hardware by pausing. If you regularly print signs, figurines or parts with lettering, a multi colour system is worthwhile. Expect purge waste and longer print times. What distinguishes the systems is explained in Multi colour printing /3d druck/grundlagen/mehrfarbdruck/ . 4. What is your budget? Price range What you typically get under €200 Small or simple open printers, mostly bed slingers, good for PLA and PETG €200 to €400 Open printers with automatic calibration, some with a multi colour option, first enclosed machines €400 to €800 Enclosed CoreXY printers, often with camera, filter and a multi colour system as an option or in the bundle, first open tool changers €800 to €1,500 Large build volumes, heated chambers, fast enclosed flagships €1,500 to €3,000 Two nozzles or tool changers with a large build volume, professional machines for engineering filaments over €3,000 Industrial machines for high temperature plastics, price usually on request Also budget about €50 to €100 for the first spools of filament and the most important tools side cutters, spatula, isopropyl alcohol . A complete tool set costs about €70 to €150, see Tools for 3D printing /3d druck/zubehoer/werkzeug/ . A multi colour system costs extra if it is not included in the bundle. 5. Love of tinkering or comfort? There is no right or wrong here, just an honest question to yourself. You want to print, not tinker: Look for automatic calibration, a good manufacturer profile in the slicer and an app or web interface. Such machines usually run in under an hour after unpacking. You want to understand and customise: Open firmware, standard parts and an active community then matter more than convenience features. You learn a lot this way, but you also need time. The design plays a part here too. What distinguishes bed slingers and CoreXY is explained in detail in Bed slinger or CoreXY /3d druck/grundlagen/bettschubser oder corexy/ . 6. Space and noise A bed slinger needs space at the front and back because the bed moves out. Roughly speaking, twice the depth of the build volume. Enclosed printers are larger and heavier, but they are a fixed cube. Fast printers are audible, especially the fans. In the bedroom or right next to the desk that quickly gets annoying. Printing produces smells and particles. A room you can ventilate is important. More on this in Safety in 3D printing /3d druck/grundlagen/sicherheit/ . 7. Spare parts and support Nozzles, build plates and belts are wear parts. Check before buying: Are spare part"},{"t":"Which 3D Scanner Suits You? Buying Criteria for Makers","k":"3D printing · 3D scanning","d":"Object size, accuracy, surface, tracking, PC requirements and connection: what matters when buying a 3D scanner.","u":"/en/3d-printing/3d-scanning/choosing-a-3d-scanner/","x":"There is no single best scanner. A device for jewellery and small screws is unsuitable for a full body scan and vice versa. So start with the object, not with the device. All the devices in the wiki are listed in the overview of 3D scanners /3d druck/3d scanner/ . 1. What do you want to scan? Manufacturers state which object sizes a scanner is intended for. This is the most important criterion. Object What to look for Examples in the wiki according to the manufacturer Very small: jewellery, screws, miniatures Short working distance, small point spacing, blue light or laser 3DMakerpro Seal 10 to 300 mm , Creality PIKA in laser mode from 10 mm Small to medium: spare parts, figures Laser or hybrid, turntable helpful Revopoint MetroX Pro up to 1 m , Revopoint POP 4 People, furniture, car parts Infrared, large working distance, markerless tracking Creality Otter Lite up to 1,200 mm distance , Einstar 2 in infrared mode 2. Accuracy or detail? Accuracy tells you how much the dimensions deviate from the real part. This matters for spare parts that have to fit. Resolution or point spacing tells you how finely details are captured. This matters for figures and surfaces. Manufacturer values are best case values. More on this under Scanning technologies compared /3d druck/3d scan/scantechnik/ . 3. Which surfaces? Dark, shiny or transparent parts are difficult. According to manufacturers, infrared and laser cope better with dark surfaces than simple structured light. For glass or mirrors you almost always need a scanning spray /3d druck/3d scan/scannen vorbereiten/ . If you need colour, for example for a bust, look for a colour camera. The 3DMakerpro Fox, for example, delivers only a grey texture. 4. Markers or markerless? For the software to be able to stitch the individual captures together, it needs orientation: Geometry: The object has enough edges and shapes. Texture: The surface has enough pattern or colour. Markers: Small adhesive dots provide a hold when the surface is smooth and uniform. Laser modes almost always need markers. If you want to work markerless a lot, for example with people, you need a scanner with an infrared or structured light mode. 5. Is your computer sufficient? This is often overlooked when buying. The data is usually processed by the PC, and many scanners demand a lot of power. A few manufacturer figures as an example: Einstar 2: Windows 11, Intel Core i7 13700H, NVIDIA RTX 3060 Laptop GPU with at least 6 GB, at least 32 GB DDR5. Revopoint MetroX Pro: 13th generation Intel i7 or Ryzen 7 5800, from 32 GB RAM, NVIDIA RTX 3060 with 8 GB. Creality PIKA: Intel i7 from 7th generation, NVIDIA GPU with 8 GB, from 16 GB RAM, or Mac with M2 and 16 GB. 3DMakerpro Seal and Fox: Minimum Intel Core i5 of the 8th generation, 16 GB RAM, NVIDIA MX250. For Revopoint, laser modes need an NVIDIA graphics card for full speed. Check the values in the datasheet before you buy. 6. Cable, Wi Fi or no PC at all? Wired: cheaper, often with a power supply. You are tied to the computer. Wi Fi with battery: more freedom around the object, though processing still runs on the PC or smartphone. Standalone with display and computer: Devices such as the Einstar VEGA /3d druck/3d scanner/einstar vega/ or Revopoint MIRACO Plus /3d druck/3d scanner/revopoint miraco plus/ scan without a PC entirely. That costs considerably more. 7. Software Each manufacturer has its own scanning software: CrealityScan, Revo Scan, EXStar Hub or JMStudio. According to the manufacturers, JMStudio from 3DMakerpro and Revo Metro from Revopoint are free. For measuring or CAD work, some manufacturers offer additional programs for an extra charge. Check before buying whether the software runs on your operating system, especially on macOS. Sources Formlabs: How to Choose the Best 3D Scanner for 3D Printing https://formlabs.com/blog/how to choose a 3d scanner for 3d printing/ All3DP: Best 3D Scanners 2026 https://all3dp.com/1/best 3d scanner diy handheld app software/ and 3D"},{"t":"Which laser suits you? A decision guide before you buy","k":"Laser · Buying guide","d":"Not a model recommendation, but the questions to ask before buying a laser: material, laser type, open or enclosed, power, area, software, budget and running costs.","u":"/en/laser/buying-guides/which-laser-to-buy/","x":"There is no single best laser engraver. There is only one that suits your materials, your space and your budget. Instead of a model, this article gives you the questions you can use to narrow down the choice yourself. 1. What do you want to do? The material decides the laser type, because each material only absorbs certain wavelengths well. How the types differ is explained in detail in Laser types compared /laser/grundlagen/lasertypen/ . You mainly want to Suitable type Why Engrave wood, leather and card and cut them thinly Diode laser inexpensive, compact, organic materials absorb 450 nm well Cut thicker wood and dark acrylic Powerful diode laser or CO₂ Cutting depth depends on power and beam quality Cut clear or light coloured acrylic CO₂ laser 450 nm simply passes through clear acrylic Engrave and mark metal Fibre laser, occasionally an infrared module Metal absorbs 1064 nm well Photos on wood or slate Diode or CO₂ with a fine spot Resolution and focus matter more than power Glass, crystal, sensitive plastics UV laser Cold processing without much heat Business with production runs Depends on the material, often CO₂ or galvo Speed, area and reliability count for more If you have several goals, put them in order. One machine for everything is usually a compromise. 2. Open or enclosed? This is the most important question after the material, because it determines where you can set the machine up. Open machines are laser class 4. Everyone in the room needs suitable laser safety glasses, and reflections are dangerous too. Without an enclosure, smoke spreads through the room. In return, open machines are cheaper, often have a larger area and also take tall or bulky workpieces. Enclosed machines reach class 1 if the manufacturer states so. The enclosure shields the radiation, and a lid interlock stops the laser. The smoke can be extracted in a controlled way through a hose. For a flat, for households with children or pets and for rooms without their own workshop door, an enclosed class 1 machine is the much less critical choice. Make sure the class is stated explicitly. If it is missing, assume class 4. Details are in Laser safety /laser/sicherheit/laser sicherheit/ . 3. How much power do you need? With diode lasers, what counts is the optical power, not the electrical power. An \"80 W\" module with 10 W of optical power is a 10 W laser. What the figures mean is explained in Understanding laser power /laser/grundlagen/laserleistung/ . Rough guide for diode lasers: 5 to 10 W: engraving, cutting thin plywood and card 20 to 24 W: solid all rounders, wood up to about 10 mm in a single pass according to the manufacturers 33 to 48 W: thicker wood and faster cutting; not automatically better for fine engraving Manufacturer figures for cutting depth are usually optimistic. Allow for less and for several passes. 4. Work area and build height Typical areas for diode lasers range from 100 x 100 mm on compact machines to around 400 x 400 mm. Large open frames reach 850 x 800 mm. Desktop CO₂ machines are usually around 500 x 300 to 600 x 300 mm. A small area is enough for pendants, coasters and labels. For signs, boxes and model construction kits you need more. On enclosed machines, the enclosure also limits the height of workpieces. On some machines a passthrough allows long boards. 5. Gantry or galvo? Gantry machines move the laser head along axes. They have large areas and cut well. Galvo machines steer the beam with mirrors, engrave very fast, but have a small field and are hardly meant for cutting. Fibre and UV lasers in the hobby sector are almost always galvo. More in Gantry or galvo /laser/grundlagen/portal oder galvo/ . 6. Features that shape everyday use Camera: shows the workpiece in the software so that you can place designs accurately. Convenient, but not a must. Air assist: blows smoke and flames away from the cut. Practically indispensable for cutting. Integrated or as an accessory. Extraction: Check whether the machine has an exh"},{"t":"Which materials can you UV print on? The overview","k":"UV printing · Materials","d":"Metal, wood, acrylic, glass, plastics, leather: which materials work well with UV, where you need primer and white, and where it gets difficult.","u":"/en/uv-printing/materials/","x":"UV printing is regarded as the process that can print on \"almost anything\". That is only half true. The ink does land on almost every material, but whether it also stays there depends on the surface. This overview shows where you need primer, when white is necessary and what to expect in terms of durability. The overview The details are guide values for typical blanks. The same materials from different suppliers can behave differently. Always test new blanks first. Material Primer needed White needed Durability Notes Anodised aluminium usually yes on dark or coloured surfaces good Anodising layer varies widely, test Coated aluminium usually no not with a white coating very good ideal for signs and photo prints Bare aluminium yes yes, for bright colours good with primer metallic effect without white Stainless steel yes yes, for bright colours good with primer degrease thoroughly Coated metal sheets sublimation, photo metal usually no not with a white coating very good Coating takes UV ink well Wood no yes, on dark wood good, indoors Grain shows through light colours MDF no usually yes good, indoors smooth surface, edges absorb Acrylic often yes yes, for opacity good Remove protective film, reverse printing possible Glass yes, always yes, for opacity medium not dishwasher safe Mirror yes yes medium Do not damage the mirror layer on the back Ceramic, glazed tiles yes with coloured glaze medium matt, unglazed ceramic often without primer Leather, faux leather usually no yes, on dark leather good with flexible ink rigid ink cracks when bent ABS usually no depending on colour good test glossy surfaces PC polycarbonate often no, test depending on colour good Phone cases made of PC work well PVC no depending on colour good Rigid foam boards are standard in signage PET usually no depending on colour good also as film, then flexible ink PP, PE yes, special primer depending on colour unreliable very low surface energy Silicone hardly possible yes poor not suitable for direct UV printing Paper, card no on coloured card good, indoors Ink stays raised, folding can crack it Stone, slate no, test smooth stones yes, on dark stone good Dust slate beforehand Textile limited yes poor when washed feels stiff, not washable Three questions for every material With every new material, three questions will help you. Does the ink hold? Smooth, dense surfaces such as glass, metal or PP need primer. Open, rough surfaces such as wood or paper usually do not. Everything about primer types and application is in the article on primer /uv druck/tinten/primer/ . Do I need white? UV ink is translucent. On dark, coloured or transparent materials, the colours disappear without a white base. On white and light materials you can often leave white out, which saves ink and time. How white, colour and varnish interact is explained in the article on ink layers /uv druck/grundlagen/farbschichten/ . Does the material flex? Rigid ink cracks on leather, film or soft plastics. There you need flexible ink. More on this in the article on UV ink /uv druck/tinten/uv tinte/ . What durability means here \"Good\" in the table means: holds up in normal indoor use, tolerates handling and wiping with a damp cloth. Two things are critical on almost all materials: Dishwasher: Hot water, aggressive detergents and knocks take a toll on any UV print. Do not expect dishwasher resistance on any material unless the manufacturer of the ink and the blank explicitly states it. Outdoor use: UV ink is more lightfast than many other inks, but rain, frost and sun over years are a different league. For outdoors, varnish and suitable materials help. Details in Durability of UV prints /uv druck/gewerbe/haltbarkeit/ . For business use For every material you sell, keep a sample with a cross hatch cut or tape test. If a customer complains, you can then check whether the material has changed. And be careful with advertising promises such as \"weatherproof\" or \"dishwasher safe\". Only write what you have tested"},{"t":"Which UV printer is right for me? A decision guide","k":"UV printing · Buying guide","d":"Print area, object height, white and varnish, print head, ink system, space and budget: the criteria for finding the right UV printer.","u":"/en/uv-printing/buying-guides/choosing-a-uv-printer/","x":"There is no single right UV printer. A machine that is perfect for phone cases and key rings fails with an A2 sign. Instead of a model recommendation, here are the questions you should answer before buying. If you go through them honestly, you will quickly narrow down the choice. 1. What do you want to print? Write down three to five products you really want to make. Measure them: largest area, greatest height, flat or round. These give you the hard requirements. Print area: It limits the largest product you can print in one run. Desktop machines mostly range between A5 and A3+. Anything bigger you have to piece together or not offer at all. Object height: How tall may an object be on the table? For bottles, boxes or cartons you need considerably more height than for plates. Also pay attention to how the height is set: by hand, motorised or measured automatically. 2. Flatbed or UV DTF? Flatbed directly onto the object UV DTF transfer film Principle Prints directly onto the item Prints onto film that you stick on Strengths Durable, smooth surface, relief also possible Round and irregular parts, large quantities on a roll Limits Object must fit under the head Sticker stays tangible, edges can lift Extra equipment Holders, possibly rotary attachment Laminator, often integrated Some machines can do both. More on the process in UV DTF /uv druck/grundlagen/uv dtf/ . 3. White, varnish and rotary You need white for dark, transparent and metallic substrates. Without white you are limited to light coloured blanks. White is also the ink that needs the most care, because the pigments settle. Varnish gloss provides shine, protection and raised effects. Without a dedicated varnish channel, you cannot print gloss accents. Relief is then only possible to a limited extent using several layers of white. Rotary printing: For bottles, mugs and pens you need a rotary attachment. Check which diameters it takes and whether it can also handle tapered parts. 4. Print head and spare part prices The print head is the most expensive wear part. Ask before buying: Which head is fitted, what does it cost on its own and who replaces it? Rough price examples from retailers: Head type Typical use Example price on its own Epson XP600 DX11 Entry level and desktop machines about US$325 to US$625, on eBay from about €365 Epson i3200 Desktop and small commercial machines about US$1,380 Ricoh Gen5 / Gen6 Commercial and industrial machines about US$2,650 / US$3,555 Head modules from the machine manufacturer e.g. eufyMake E1 module with circuit board, probably an XP600 variant US$599 manufacturer price Prices vary widely depending on retailer, condition and customs duty. A machine with two heads often prints faster or separates colour and varnish, but also doubles the risk when it comes to replacement. 5. Ink costs and sources Closed system: Cartridges with a chip from the manufacturer. Simple, often clean to handle, but you are tied to the manufacturer's prices and ability to deliver. Example eufyMake: €29.99 for 100 ml. Open system: Refill bottles, often from several suppliers. Cheaper per millilitre Procolored lists 500 ml for US$59 , but third party ink can raise warranty questions. Ask which inks the manufacturer approves. Ink has a shelf life. If you print little, you should not buy bulk containers. 6. Software and RIP Some machines come with their own simple software, others need a RIP program. Check: Does the software run on your operating system? Can it control white and varnish as separate layers? Are there licence costs or a subscription? Is it in German or at least understandable? 7. Space, smell and ventilation UV ink smells, especially when curing. The room should be ventilable; bedrooms and living kitchens are not a good choice. Plan space around the machine: for the E1, for example, eufyMake requires about 40 cm in front of and behind the machine and 30 cm to the left and right, because the A3 plate moves out at the front and back. Manufacturers state "},{"t":"Your first 3D print: step by step to a finished part","k":"3D printing · Basics","d":"Set up the printer, calibrate, load filament, slice a test model and print: how to get your first print right, and the typical beginner mistakes.","u":"/en/3d-printing/basics/first-3d-print/","x":"With current printers, the first print is no longer rocket science. Most machines guide you through setup via the display or an app. Even so, there are a few points where things often go wrong. This guide goes through the steps in order and applies to most FDM printers. 1. Finding the right spot The printer needs a stable, level surface . A wobbly table transmits vibrations to the print and creates wave patterns in the surface. With a bed slinger, the print bed moves out to the front and back. Allow space in front of and behind the machine for this. No draughts: a window or air conditioning right next to it makes prints cool unevenly. A room where the operating noise is not disturbing. Even quiet printers hum and click for hours. 2. Removing transport locks Almost every printer is secured with screws, cable ties or foam parts that hold the axes in place. The manufacturer's manual shows where they are. Many manufacturers also mark them with coloured stickers, flags or conspicuously coloured screws. A forgotten lock is one of the most common reasons why calibration aborts. In the worst case, the motors drive against the blocked axis and damage belts or plastic parts. Before switching on for the first time, therefore, check that you have removed all locks according to the manual. Whether and which axes you may move by hand is also stated in the manual: on some printers this is no problem, on others you should not work against motors, spindles or gears. If in doubt, move the axes via the printer's menu. 3. Setting up and calibrating When you first switch on, a setup wizard usually starts. Typical steps: 1. Set up language, Wi Fi and, if applicable, an app account 2. Update the firmware, if offered 3. Start automatic calibration : the printer measures the print bed, the nozzle distance and often vibrations too. Depending on the machine, this takes 10 to 30 minutes. Older or very cheap machines sometimes still have to be levelled by hand. In that case you equalise the distance between nozzle and bed at the four corners with a sheet of paper until it drags slightly. 4. Loading filament PLA is the best choice to begin with. It prints at low temperatures, hardly warps and forgives small mistakes. Put the spool on the holder so that the filament unwinds easily Cut the end at an angle so that it is easier to thread Choose \"Load filament\" in the menu: the printer heats up and pulls in the filament until material comes out of the nozzle Never let go of the filament while the end is free. Otherwise it springs off the spool and tangles. A tangle in the spool later causes problems in the middle of a print. 5. Preparing a test model A small, proven model is suitable for the first print. Many printers have test files on the memory card or in the app. The little test boat 3DBenchy /3d druck/wissen/benchy/ is popular because it combines typical difficulties such as overhangs and small details within a few centimetres. If you want to slice it yourself: 1. Install the manufacturer's slicer, for example Bambu Studio, PrusaSlicer or Creality Print, or the cross manufacturer OrcaSlicer 2. Select your printer model; the profile contains all the basic settings 3. Choose the material \"Generic PLA\" or the profile of your filament brand 4. Load the model, place it on the bed, click \"Slice\" 5. Send the file to the printer To begin with, the rule is: do not change the default profile. The manufacturer profiles are matched to the machine. You can optimise later. 6. Starting the print and watching the first layer The first layer decides the whole print. Stay with it for the first few minutes and watch: Good: The lines lie slightly flattened and touch each other without gaps. Too high: Round, loose lines that can be moved. The print will come loose. Too low: The nozzle scrapes and hardly any material comes out. The surface looks translucent or rough. If the first layer looks bad, it is better to abort and check the causes in the article First layer does not sti"},{"t":"3D printing","k":"Overview","d":"Everything about 3D printing: FDM basics, filaments, settings, troubleshooting, printers and comparisons, plus resin printers and 3D scanners.","u":"/en/3d-printing/"},{"t":"Basics","k":"3D printing","d":"How 3D printing works, which processes and designs there are.","u":"/en/3d-printing/basics/","x":"3D printer maintenance: what to do and when, with a schedule 3D printing safety: fumes, fire protection and children Bed slinger or CoreXY: which design suits you? Calculating 3D print costs: filament, electricity, cost per hour Multi-colour printing: AMS, tool changers and more explained What Is 3D Printing? Methods, Process and Costs Explained Simply Where to Put a 3D Printer: Desk, Cabinet, Noise and Living Space Your first 3D print: step by step to a finished part"},{"t":"Settings","k":"3D printing","d":"Setting temperature, layer height, infill and more correctly.","u":"/en/3d-printing/settings/","x":"Brim, skirt or raft: what do you need when in 3D printing? Calibrating a 3D printer: flow, pressure advance and input shaping Choosing the right layer height: quality versus print time Hiding the Z seam: setting the seam position correctly Print speed: how fast can I print? Printing lithophanes: photos that glow when backlit Setting the part cooling fan and cooling correctly for each material Setting the print temperature: with a temperature tower Setting up infill: how much fill does your print need? Support Structures: When You Need Supports and How to Remove Them Walls and top/bottom layers: strength and clean surfaces"},{"t":"Troubleshooting","k":"3D printing","d":"Stringing, warping, a poor first layer: causes and fixes.","u":"/en/3d-printing/troubleshooting/","x":"Clogged nozzle: identifying the causes and clearing it Elephant's foot in 3D printing: when the bottom layer bulges Filament snaps or becomes brittle: causes and what you can do First layer not sticking: 8 causes and fixes Fixing holes and gaps in the top surface (pillowing) Fixing under-extrusion: gaps and thin walls Ghosting and ringing: fixing ripples beside edges on 3D prints Layer shift: when layers move sideways Over-extrusion: too much material, bulges and blobs Print will not come off the print bed: removing it safely Printing Bridges: When Bridges Sag Stringing in 3D Printing: Avoiding Strings Between Parts Warping in 3D printing: when the corners lift off the bed"},{"t":"Buying guide","k":"3D printing","d":"Which printer suits whom, and which budget.","u":"/en/3d-printing/buying-guides/","x":"3D printers for children: safety, materials, getting started Buying used or refurbished: 3D printers, lasers, UV printers Which 3D printer is right for me? A decision guide"},{"t":"Accessories","k":"3D printing","d":"Build plates, nozzles, filament dryers and more.","u":"/en/3d-printing/accessories/","x":"3D Printer Enclosures and Air Filters: What They Do and Cost 3D printer nozzles: choosing the right material and size Build plates compared: smooth PEI, textured PEI and glass Buying a filament dryer: what really matters Gluing 3D prints: which glue for PLA, PETG, ABS, ASA and TPU? Melting in threaded inserts: a guide for 3D printing Post-processing 3D prints: sanding, filling, painting Tools for 3D Printing: the Basic Kit for Beginners Vacuum forming with 3D-printed moulds: sheet, master, process"},{"t":"3D models","k":"3D printing","d":"3D models to print: platforms such as Printables, MakerWorld and Thingiverse, designing your own models, STL, 3MF and STEP, and licences explained clearly.","u":"/en/3d-printing/3d-models/","x":"Can I sell 3D prints? Licences explained simply Creating your own 3D models: programs for getting started Finding 3D models to print: platforms compared STL, 3MF, STEP and G-code: file formats in 3D printing"},{"t":"Trivia & knowledge","k":"3D printing","d":"History, records, myths and amazing applications of 3D printing.","u":"/en/3d-printing/knowledge/","x":"3D Printing or Injection Moulding? Costs, Quantities and Strength 3D printing records: the largest, smallest and fastest prints 3DBenchy: why everyone prints this little boat 7 persistent myths about 3D printing Printed houses, rockets and organs: what 3D printing can do today The history of 3D printing: from 1981 to today"},{"t":"Laser","k":"Overview","d":"Everything about lasers: diode, CO₂ and fibre lasers, materials, settings, safety, troubleshooting, software and machine comparison.","u":"/en/laser/"},{"t":"Basics","k":"Laser","d":"How lasers work, which types of laser there are and what the power in watts means.","u":"/en/laser/basics/","x":"Engraving, cutting, marking: laser processes explained Gantry or galvo: which laser design suits your projects Laser types compared: diode, CO₂, fibre, infrared and UV Understanding laser power: what watt figures really tell you What is a laser engraver? How it works, uses and starter equipment"},{"t":"Materials","k":"Laser","d":"Wood, acrylic, leather, metal, glass, stone, paper and fabric: what works and with which starting values.","u":"/en/laser/materials/","x":"Laser cutting and engraving leather: real leather, faux leather and safe starting values Laser cutting and engraving wood: species, starting values, fewer burn marks Laser cutting paper and fabric: card, felt, denim and cork without fires Laser engraving glass, stone and slate: no cracks, no frustration Laser engraving metal: what diode, fibre and MOPA lasers can really do Laser settings by material: starting values at a glance Lasering acrylic: cast or extruded, diode or CO₂?"},{"t":"Settings","k":"Laser","d":"Setting power, speed, focus, material tests and air assist correctly.","u":"/en/laser/settings/","x":"Air assist for lasers: airflow, pump and how to use it Laser material test: test grids for the right settings Lowering the focus per pass: cutting thick sheets cleanly Setting laser parameters: power, speed and line interval Setting the laser focus: focal length, focal point and cutting"},{"t":"Safety","k":"Laser","d":"Laser classes, safety glasses, fire protection, fume extraction and materials that are off limits.","u":"/en/laser/safety/","x":"Laser fume extraction: smoke outside or through a filter Laser in a flat: what is possible and what to watch out for Laser safety: laser classes, safety glasses and fire protection Prohibited Materials for Laser Cutting: What You Must Never Laser"},{"t":"Troubleshooting","k":"Laser","d":"Burn marks, cuts that do not go through, uneven engraving: causes and fixes.","u":"/en/laser/troubleshooting/","x":"Burn Marks When Laser Cutting: Avoiding Scorching and Smoke Streaks Laser not cutting through: finding and fixing the causes Uneven laser engraving: causes and solutions"},{"t":"Software & files","k":"Laser","d":"LightBurn and manufacturer software, preparing files and photos properly.","u":"/en/laser/software/","x":"Finding Laser Files and Templates: Free Sources and Licences Laser engraving photos: material, image preparation and dithering Laser software compared: LightBurn, xTool Studio and more LightBurn: licences, prices and first steps for laser engravers Preparing laser files: vectors, text, kerf and photos"},{"t":"Buying guide","k":"Laser","d":"Which laser suits which project and what to look out for when buying.","u":"/en/laser/buying-guides/","x":"Which laser suits you? A decision guide before you buy"},{"t":"Accessories","k":"Laser","d":"Safety glasses, honeycomb bed, rotary axis, fume extraction and other accessories.","u":"/en/laser/accessories/","x":"Engraving mugs and bottles: setting up a rotary axis Laser Accessories: What You Really Need and What to Look For"},{"t":"UV printing","k":"Overview","d":"Everything about UV printing: how UV printers work, inks and primers, printable materials, print files, troubleshooting, costing and printer comparison.","u":"/en/uv-printing/"},{"t":"Basics","k":"UV printing","d":"How UV printing works, which processes there are and how colour, white and varnish work together.","u":"/en/uv-printing/basics/","x":"Colour, white and varnish: how UV printers print layer by layer Relief and texture: tactile 3D effects in UV printing UV DTF explained: transfer stickers for almost any surface UV Printing Safety: Ink, Fumes and UV Light UV printing, DTF or sublimation? The methods compared What is UV printing? How UV printers work"},{"t":"Inks & primers","k":"UV printing","d":"UV inks, primers and varnish: types, adhesion, storage and durability.","u":"/en/uv-printing/inks/","x":"Primer for UV printing: when you need it and which one UV ink explained: hard, flexible and specialist inks Varnish in UV printing: gloss, protection and effects"},{"t":"Print files & workflow","k":"UV printing","d":"Prepare files, set up white and varnish, match colours, position accurately.","u":"/en/uv-printing/workflow/","x":"Colour management in UV printing: why colours look different Positioning accurately: jigs, camera and series production Preparing UV Print Files: Resolution, White, Varnish Rub-ons and transfer stickers with UV DTF"},{"t":"Troubleshooting","k":"UV printing","d":"Ink not sticking, stripes, clogged nozzles: causes and fixes.","u":"/en/uv-printing/troubleshooting/","x":"Banding in UV printing: causes and fixes Blurry UV prints and ink mist (overspray) Bubbles and craters in varnish: causes and fixes Clogged nozzles on a UV printer: nozzle check, cleaning, prevention UV print not sticking: ink scratches off"},{"t":"Business & costing","k":"UV printing","d":"Cost per print, durability, product ideas and the path from hobby to selling.","u":"/en/uv-printing/business/","x":"How durable is UV printing? Scratches, sun, water and the dishwasher UV printing product ideas: what sells What Does a UV Print Cost? Calculating Ink, Material and Time"},{"t":"Buying guide","k":"UV printing","d":"Which UV printer suits whom and what it really costs to run.","u":"/en/uv-printing/buying-guides/","x":"Running costs of a UV printer: ink, maintenance and print head Which UV printer is right for me? A decision guide"},{"t":"Accessories & care","k":"UV printing","d":"Cleaning, maintenance and care of the UV printer.","u":"/en/uv-printing/accessories/","x":"UV printer maintenance: daily care, downtime and cleaning"},{"t":"Makerspace","k":"Overview","d":"Textiles and transfers in the makerspace: heat presses, cutting plotters, sublimation and DTF printing explained, with data sheets and decision help.","u":"/en/makerspace/"},{"t":"Print cost calculator","k":"Calculator","d":"Enter filament, electricity, wear and failed prints and see what a print really costs.","u":"/en/3d-printing/calculators/print-cost/","x":"cost calculate power consumption electricity price kWh filament price calculator"},{"t":"Filament calculator","k":"Calculator","d":"Convert grams to metres and check whether the remainder on the spool is enough for the next print.","u":"/en/3d-printing/calculators/filament-length/","x":"metres grams spool remaining length weight density"},{"t":"Temperature cheat sheet","k":"Calculator","d":"Nozzle, bed, chamber, fan and drying for 14 materials at a glance, ready to print out.","u":"/en/3d-printing/calculators/temperatures/","x":"print temperature bed temperature nozzle table material overview drying"},{"t":"Flow calculator","k":"Calculator","d":"Correct the flow factor and E-steps properly after a test print.","u":"/en/3d-printing/calculators/flow-rate/","x":"flow flow rate e-steps extrusion multiplier calibrate"},{"t":"UV printing calculator: work out unit costs and profit","k":"Calculator","d":"Free calculator for UV printing: enter ink, blank, working time, device and waste, and see cost price, profit and margin per piece.","u":"/en/uv-printing/cost-calculator/","x":"UV printing cost calculator price ink costing"},{"t":"Creality Ender-3 V3 SE","k":"Printers","d":"Simple, open entry-level printer. Perfectly adequate for PLA and PETG, but slow and without convenience features such as Wi-Fi or a camera.","u":"/en/3d-printing/printers/creality-ender-3-v3-se/","x":"Creality Bed slinger open Beginners on a small budget who want to just try it out no PLA PETG TPU Very affordable entry point Automatic levelling despite the budget price Direct drive, so TPU is also possible Significantly slower than the current mid-range No Wi-Fi, print files via SD card Only up to 260 °C, no ABS/ASA without modification"},{"t":"Bambu Lab A1","k":"Printers","d":"Open printer with a large build volume, high speed and a lot of automation. With AMS lite, one of the cheapest ways to multi-colour printing.","u":"/en/3d-printing/printers/bambu-lab-a1/","x":"Bambu Lab Bed slinger open Beginners and hobby makers who want good results quickly and, if needed, multi-colour printing optional with AMS lite (up to 4 colours, available as Combo) PLA PETG TPU PVA Very fast for a bed slinger Multi-colour printing can be retrofitted cheaply Quiet (according to the manufacturer under 48 dB in quiet mode) Open design, ABS/ASA not recommended according to the manufacturer Bed slinger: very tall, narrow parts tend to wobble Strongly tied to the Bambu ecosystem"},{"t":"Elegoo Centauri Carbon","k":"Printers","d":"Enclosed CoreXY printer at the price of an open mid-range device. Strong with engineering materials, but without a multi-colour option.","u":"/en/3d-printing/printers/elegoo-centauri-carbon/","x":"Elegoo CoreXY enclosed For the price-conscious who also want to print ABS, ASA or carbon filaments no PLA PETG TPU ABS ASA PET PC PA CF-/GF-Filamente Enclosed and CoreXY at an entry-level price High nozzle temperature, engineering filaments too Hardened parts for carbon filaments from the factory No multi-colour system Heavier and larger than open printers Smaller accessory ecosystem than Bambu or Prusa"},{"t":"Bambu Lab P2S","k":"Printers","d":"Enclosed CoreXY all-rounder with plenty of automation and an optional multi-colour system. For many, the most convenient way to fast, clean prints.","u":"/en/3d-printing/printers/bambu-lab-p2s/","x":"Bambu Lab CoreXY enclosed Ambitious hobby makers and small businesses who print a lot and in a wide variety of ways optional with AMS 2 Pro (up to 24 spools, with drying) PLA PETG TPU ABS ASA PVA PET PA PC Very fast and largely automated Multi-colour printing with filament drying possible Camera with error detection Significantly more expensive than the entry-level class Strongly tied to the Bambu ecosystem Spare parts mostly only from the manufacturer"},{"t":"Prusa CORE One+","k":"Printers","d":"Enclosed CoreXY printer from the Czech Republic. More expensive than the competition, but open, easy to repair and with active chamber temperature control. Since August 2026 as Gen 2 with GT1.5 belts, nozzle wiper, new bed mounting and removable top plate, at the same price.","u":"/en/3d-printing/printers/prusa-core-one-plus/","x":"Prusa CoreXY enclosed Anyone who values repairability, openness and European support optional with MMU3, also available as INDX version with 8 tools PLA PETG TPU PVA PC PP ABS ASA HIPS PA Open platform that is easy to repair, with good spare parts supply Active chamber temperature control Also available as a kit More expensive than comparable enclosed printers Camera and Wi-Fi only as accessories Top speed not officially specified"},{"t":"Prusa CORE One L+","k":"Printers","d":"The large version of the CORE One with 300 × 300 × 330 mm build volume and an actively heated chamber. For large parts in ABS, ASA or nylon. Since August 2026 with GT1.5 belts and a nozzle wiper.","u":"/en/3d-printing/printers/prusa-core-one-l-plus/","x":"Prusa CoreXY enclosed Anyone who wants to print large parts in engineering filaments MMU3 can be retrofitted with a conversion kit from the Prusa shop (Prusa rather recommends INDX for this device), also available as an INDX version with 8 tools PLA PETG TPU PVA PC PP ABS ASA HIPS PA Large build volume in an enclosure Actively heated chamber up to 60 °C, good for ABS, ASA and PA Camera included as standard Significantly more expensive than the CORE One+ Large and heavy, needs a permanent spot Prusa only states the travel speed (500 mm/s), not a maximum print speed"},{"t":"Prusa MK4S","k":"Printers","d":"Prusa's open classic as a bed slinger. Solid, easy to repair and available as a kit, but without enclosure and camera.","u":"/en/3d-printing/printers/prusa-mk4s/","x":"Prusa Bed slinger open Tinkerers who want an open, easily repairable printer, also as a kit optional with MMU3 PLA PETG TPU PVA PC PP ABS ASA HIPS PA Proven, very well documented platform Much cheaper as a kit Multi-colour printing can be retrofitted with MMU3 Open, an enclosure is needed for ABS and ASA No camera Enclosed CoreXY printers are now similarly priced"},{"t":"Prusa MINI+","k":"Printers","d":"Small, compact entry-level printer from Prusa. Reliable, but with a small build volume and older technology than the competition at the same price.","u":"/en/3d-printing/printers/prusa-mini-plus/","x":"Prusa Bed slinger open Beginners with little space who value Prusa support no PLA PETG ASA ABS PC PVA HIPS PP TPU Compact and light Cheapest entry point at Prusa Partly pre-assembled, quick to set up Small build volume (18 cm cube) Bowden extruder, flexible filaments are harder Slower than current competition in the same price range"},{"t":"Prusa XL+","k":"Printers","d":"Large-format printer with a 36 cm cube build volume and an optional tool changer for up to 5 materials. Expensive, but very efficient for multi-colour printing. The XL+ update from August 2026 brought 360° part cooling, a Tool Offset Sensor, high-flow nozzles and GT1.5 belts.","u":"/en/3d-printing/printers/prusa-xl-plus/","x":"Prusa CoreXY open Small businesses and professionals who print large or multi-colour parts without material loss Tool changer with up to 5 heads (one material per head, almost no waste) PLA PETG TPU PVA PC PP ABS ASA HIPS PA Largest build volume in the Prusa range True tool changer with up to 5 heads Multi-colour printing with almost no material waste Very expensive, especially with multiple heads Enclosure only as an accessory, chamber heating announced but no delivery date yet Needs a lot of floor space"},{"t":"Prusa Pro HT90","k":"Printers","d":"Professional printer with delta kinematics for high-performance plastics up to 500 °C. Not a device for home use, but the flagship of the Prusa range.","u":"/en/3d-printing/printers/prusa-pro-ht90/","x":"Prusa Delta enclosed Industry and development that need parts made from high-temperature plastics no PLA PETG PC ABS ASA PA TPU PEI PEEK PEKK CF-Filamente Prints high-performance plastics such as PEEK and PEI Chamber up to 90 °C Fast delta kinematics Price in the industrial sector Large and heavy (over 1 m tall) Oversized for hobby use"},{"t":"Anycubic Kobra X","k":"Printers","d":"Open bed slinger with a built-in four-colour system. One of the cheapest ways to multi-colour printing without having to buy extra accessories.","u":"/en/3d-printing/printers/anycubic-kobra-x/","x":"Anycubic Bed slinger open Beginners who want to print in multiple colours from the start ACE Gen 2 built in (4 colours, expandable to 19) PLA PETG TPU PVA ABS Multi-colour printing with 4 colours already in the base unit According to the manufacturer, significantly less purge waste when changing colour Hardened nozzle from the factory Open design, ABS only of limited use Bed slinger: tall, narrow parts tend to wobble Camera only 720p"},{"t":"Anycubic Kobra S1","k":"Printers","d":"Enclosed CoreXY printer with an optional multi-colour system. Direct competitor to the Bambu P series, usually somewhat cheaper.","u":"/en/3d-printing/printers/anycubic-kobra-s1/","x":"Anycubic CoreXY enclosed For the price-conscious who want to print enclosed and add multi-colour printing later optional with ACE Pro (up to 8 colours with two units) PLA PETG TPU ABS ASA PC PA CF-/GF-Filamente Enclosed and CoreXY at an entry-level price High nozzle temperature up to 320 °C Multi-colour system can be retrofitted, also available as a combo Camera with only 480p Slightly smaller build volume than the direct competition Heavier than open printers"},{"t":"Bambu Lab A1 mini","k":"Printers","d":"Small, very simple entry-level printer. Ideal for PLA and PETG, too small and too cool for large parts and engineering materials.","u":"/en/3d-printing/printers/bambu-lab-a1-mini/","x":"Bambu Lab Bed slinger open Beginners, children's rooms and craft rooms with little space optional with AMS lite (up to 4 colours, available as Combo) PLA PETG TPU PVA Very affordable and compact Lots of automation, hardly any tuning Quiet (according to the manufacturer under 48 dB in quiet mode) Small build volume (18 cm cube) Bed only up to 80 °C, no engineering filaments Strongly tied to the Bambu ecosystem"},{"t":"Bambu Lab P1S","k":"Printers","d":"Enclosed CoreXY printer and for a long time the standard in the mid-range. Now complemented by the P2S, but still available and cheaper.","u":"/en/3d-printing/printers/bambu-lab-p1s/","x":"Bambu Lab CoreXY enclosed Anyone who wants a proven enclosed printer at a lower price optional with AMS PLA PETG TPU PVA ABS ASA PA PC CF-Filamente Enclosed, fast and proven Multi-colour printing possible with AMS Cheaper than the successor P2S Small button display instead of touchscreen Camera only 720p Fewer sensors than the P2S"},{"t":"Bambu Lab X1 Carbon","k":"Printers","d":"Bambu Lab's former flagship model. No longer available new, but widely used and an important reference for comparisons.","u":"/en/3d-printing/printers/bambu-lab-x1-carbon/","x":"Bambu Lab CoreXY enclosed Buyers of used devices and anyone who wants to compare an existing device with current models optional with AMS PLA PETG TPU PVA ABS ASA PC PA CF-Filamente Lidar checks the first layer automatically Hardened nozzle for carbon filaments from the factory Very widespread, many user reports Discontinued by the manufacturer (spare parts until 2031 according to the manufacturer) No active chamber heating Newer models such as the P2S offer similar features for less"},{"t":"Bambu Lab H2D","k":"Printers","d":"Large dual-nozzle printer with heated chamber. Prints two materials with almost no purge waste and can be expanded with a laser and cutting module.","u":"/en/3d-printing/printers/bambu-lab-h2d/","x":"Bambu Lab CoreXY enclosed Small businesses and heavy users who print engineering materials and material combinations two nozzles, optionally with AMS PLA PETG TPU PVA ABS ASA PC PA CF-/GF-Filamente Two nozzles: two materials with little waste Large build volume and actively heated chamber Optionally with laser and cutting module Expensive Large and over 30 kg in weight Often oversized for pure hobby prints"},{"t":"Qidi Plus4","k":"Printers","d":"Enclosed CoreXY printer with an actively heated chamber and a very hot nozzle. A specialist for engineering filaments in the mid-range.","u":"/en/3d-printing/printers/qidi-plus4/","x":"Qidi Tech CoreXY enclosed Anyone who prints a lot of ABS, ASA, nylon or PC and needs a heated chamber no PLA PETG TPU ABS ASA PA PC CF-/GF-Filamente Actively heated chamber at a mid-range price Nozzle up to 370 °C Large build volume Very heavy (32 kg) No multi-colour system of its own Smaller retailer and accessory market in Germany"},{"t":"Creality K2 Pro","k":"Printers","d":"Enclosed CoreXY printer with 30 cm build volume, heated chamber and an optional multi-colour system. A lot of features for the mid-range.","u":"/en/3d-printing/printers/creality-k2-pro/","x":"Creality CoreXY enclosed Anyone who wants a large build volume, chamber heating and multi-colour printing in one device optional with CFS (available as Combo) PLA PETG TPU ABS ASA PA PC CF-Filamente Large build volume with actively heated chamber Multi-colour system as a combo A lot of features for the price Large and heavy Software and ecosystem less mature than Bambu's Prices vary widely depending on promotions"},{"t":"Snapmaker U1","k":"Printers","d":"Tool changer with four print heads. Multi-colour printing without large purge volumes, one of the cheapest printers of this kind.","u":"/en/3d-printing/printers/snapmaker-u1/","x":"Snapmaker CoreXY open Anyone who prints a lot in multiple colours and wants to avoid waste Tool changer with 4 heads (almost no waste when changing colours) PLA PETG TPU PVA ABS ASA PA PC Tool changer with 4 heads at a comparatively affordable price Colour changes with almost no material loss Different materials can be combined in one print Open without a cover, ABS and ASA only with the accessory cover Large, needs a lot of space More complex mechanics than single-nozzle printers"},{"t":"Elegoo Centauri Carbon 2","k":"Printers","d":"Enclosed CoreXY printer with 256 mm build volume and a hardened 350 °C nozzle. Multi-colour printing with 4 colours is possible with the optional CANVAS module.","u":"/en/3d-printing/printers/elegoo-centauri-carbon-2/","x":"Elegoo CoreXY enclosed Users who want to print ABS, ASA or fibre-reinforced filaments in addition to PLA and PETG optional with CANVAS (4 colours, RFID detection) PLA PETG TPU ABS ASA PC PA CF-/GF-Filamente Enclosed build volume with activated carbon/HEPA filter Hardened nozzle up to 350 °C 121-point levelling and built-in camera Chamber only passively heated TPU with CANVAS only usable after conversion High weight and large footprint"},{"t":"Elegoo Centauri 2","k":"Printers","d":"Open variant of the Centauri Carbon 2 platform with a 256 mm build volume. Enclosure, camera, lighting and filter are omitted, multi-colour printing is optional with CANVAS.","u":"/en/3d-printing/printers/elegoo-centauri-2/","x":"Elegoo CoreXY open Users who mainly print PLA, PETG and TPU and can do without an enclosure and camera optional with CANVAS (4 colours, RFID detection) PLA PETG TPU PLA-CF Same print values as the enclosed model (350 °C nozzle, 110 °C bed) Hardened nozzle Printing possible without forced cloud use No camera Open design, ABS only of limited use No lighting and no air filter"},{"t":"Creality K2 SE","k":"Printers","d":"Open CoreXY printer with a 220 x 215 x 245 mm build volume and 300 °C nozzle. Multi-colour printing is possible with up to four CFS units.","u":"/en/3d-printing/printers/creality-k2-se/","x":"Creality CoreXY open Beginners looking for a fast CoreXY printer for PLA and PETG with the option of multi-colour printing optional with CFS (4 colours per unit, up to 16 colours with four units) PLA PETG TPU PLA-CF CoreXY with 20,000 mm/s² at a low price Expandable to up to 16 colours Quick-change nozzle No camera Open design, ABS only of limited use Smallest build volume of the K2 series"},{"t":"Creality Ender-3 V4","k":"Printers","d":"Open bed slinger with a 220 x 220 x 235 mm build volume and up to 500 mm/s. The combo package includes the CFS for multi-colour printing.","u":"/en/3d-printing/printers/creality-ender-3-v4/","x":"Creality Bed slinger open Beginners looking for a compact bed slinger with the option of multi-colour printing optional with CFS (4 colours per unit, up to 16 colours with four units) PLA PETG TPU ABS ASA PLA-CF PA-CF Light weight and compact design One-piece die-cast frame Multi-colour printing possible with CFS No camera Open design, ABS only of limited use Small 2.8\" display"},{"t":"Creality SparkX i7","k":"Printers","d":"Open bed slinger with a 260 x 260 x 255 mm build volume and 720p camera. Multi-colour printing with 4 colours is possible with the CFS Lite.","u":"/en/3d-printing/printers/creality-sparkx-i7/","x":"Creality Bed slinger open Beginners looking for a quiet bed slinger with camera and the option of 4 colours optional with CFS Lite (4 colours, one unit only) PLA PETG TPU PLA-CF Integrated 720p camera with AI error detection Larger build volume than many bed slingers in this class Quiet operation Open design, ABS only of limited use CFS Lite limited to 4 colours, cannot be cascaded Acceleration only 10,000 mm/s²"},{"t":"Anycubic Kobra 4","k":"Printers","d":"Open bed slinger with a 260 mm build volume, quick-change nozzle and 720p camera. Multi-colour printing is possible with the ACE 2 Pro, which is included in the combo package.","u":"/en/3d-printing/printers/anycubic-kobra-4/","x":"Anycubic Bed slinger open Beginners looking for an open printer with an optional multi-colour upgrade optional with ACE 2 Pro (4 colours, included in the Combo) PLA PETG TPU Tool-free quick-change nozzle Camera with AI monitoring as standard Dynamic flow calibration Slow colour changes with high purge loss Large footprint due to the design TPU not usable via ACE 2 Pro"},{"t":"Bambu Lab A2L","k":"Printers","d":"Open bed slinger with a 330 x 320 x 325 mm build volume, available since June 2026. Multi-colour printing is possible with AMS lite or AMS, high-temperature filaments such as ABS, ASA, PA or PC are not supported.","u":"/en/3d-printing/printers/bambu-lab-a2l/","x":"Bambu Lab Bed slinger open Users who print large parts from PLA or PETG and optionally want to work in multiple colours optional with AMS lite (4 colours), up to 19 colours with four AMS and one AMS lite PLA PETG TPU PVA PLA-CF PETG-CF Large build volume for a bed slinger Adaptive vibration compensation Many sensors for error detection Heated bed only up to 80 °C No enclosure, no high-temperature filaments such as ABS, ASA, PA or PC Camera with a low frame rate"},{"t":"Qidi Plus5","k":"Printers","d":"Enclosed CoreXY printer with 320 x 320 x 300 mm build volume and active chamber heating up to 65 °C. The hotend reaches 370 °C, multi-colour printing is possible with the QIDI Box.","u":"/en/3d-printing/printers/qidi-plus5/","x":"Qidi Tech CoreXY enclosed Users who print engineering filaments such as PA, PC or fibre-reinforced materials optional with QIDI Box (up to 16 colours with four units) PLA PETG TPU ABS ASA PC PA CF-/GF-Filamente Actively heated chamber up to 65 °C Hotend up to 370 °C Air filter with HEPA and activated carbon High weight of 29 kg Large footprint Multi-colour printing only with a separate QIDI Box"},{"t":"Flashforge Creator 5","k":"Printers","d":"Open CoreXY printer with tool changer and four independent print heads, delivered since May 2026. The Creator 5 Pro is also enclosed, has an actively heated chamber up to 65 °C as well as HEPA and activated carbon filters, and can therefore also process ABS, ASA and fibre-reinforced PA.","u":"/en/3d-printing/printers/flashforge-creator-5/","x":"Flashforge CoreXY open Users who regularly print in multiple colours and want to avoid purge waste yes, up to 4 colours or materials via four print heads, no purge waste (Pro version also enclosed) PLA PETG TPU PVA BVOH PLA-CF PETG-CF Four print heads, almost no purge waste when changing colours High acceleration up to 30,000 mm/s² Automatic pressure advance calibration Open frame, no high-temperature filaments such as ABS, ASA, PA or PC Large footprint due to the tool changer Calibration takes 15 to 20 minutes, the first calibration during setup took about 40 minutes in the test (laut Tom's Hardware)"},{"t":"Flashforge Creator 5 Pro","k":"Printers","d":"Enclosed version of the Creator 5: CoreXY printer with tool changer, four independent print heads and 256 x 256 x 256 mm build volume. It also has an actively heated chamber up to 65 °C, a cooling mode for PLA and PETG with the door closed, and HEPA 13 and activated carbon filters.","u":"/en/3d-printing/printers/flashforge-creator-5-pro/","x":"Flashforge CoreXY enclosed Users who want to print in multiple colours without purge waste and also process engineering filaments such as ABS, ASA, PC or fibre-reinforced PA yes, up to 4 colours or materials via four print heads, no purge waste PLA PETG TPU PVA BVOH ABS ASA PC PA PC-ABS PLA-CF PETG-CF PA-CF PAHT-CF PPA-CF PPS-CF Four print heads, almost no purge waste when changing colours and materials Enclosed with active chamber heating up to 65 °C, so ABS, ASA, PC and PA are possible too HEPA 13 and activated carbon filter, door and lid detection According to the manufacturer, print speed is max. 300 mm/s; the 600 mm/s applies to travel moves Hotend only up to 320 °C Large footprint: 520 x 443 x 710 mm with filament tube and spool holders"},{"t":"Anycubic Kobra 3","k":"Printers","d":"Open bed slinger with a 250 x 250 x 260 mm build volume and LeviQ 3.0 levelling. With the ACE Pro, up to 8 colours are possible. The successor is the Kobra 4, Kobra 3 and Kobra 3 V2 are sold out in the manufacturer's shop.","u":"/en/3d-printing/printers/anycubic-kobra-3/","x":"Anycubic Bed slinger open Beginners who want an affordable entry into multi-colour printing with filament drying optional with ACE Pro (up to 8 colours with two units) PLA PETG TPU ACE Pro dries filament during printing Tiltable display Vibration compensation via accelerometer Camera not included Open design limits engineering filaments Successor Kobra 4 available, Kobra 3 and Kobra 3 V2 sold out in the manufacturer's shop"},{"t":"Bambu Lab H2S","k":"Printers","d":"Single-nozzle variant of the H2 series with 340 x 320 x 340 mm build volume and an actively heated chamber up to 65 °C. Multi-colour printing is possible with an optional AMS, laser and cutting modules can be retrofitted.","u":"/en/3d-printing/printers/bambu-lab-h2s/","x":"Bambu Lab CoreXY enclosed Users who want to print large single parts from engineering filaments such as PA, PC or PPS optional with AMS 2 Pro or AMS HT PLA PETG TPU PVA BVOH ABS ASA PC PA PET PPS CF-/GF-Filamente Large build volume of 340 x 320 x 340 mm Actively heated chamber up to 65 °C Nozzle up to 350 °C for engineering filaments Only one nozzle, no waste-saving nozzle change High weight and large footprint Multi-colour printing only with an additional AMS"},{"t":"Bambu Lab H2C","k":"Printers","d":"Dual-nozzle printer with Vortek system that swaps up to six hotends on the right print head. Build volume 330 x 320 x 325 mm, actively heated chamber up to 65 °C.","u":"/en/3d-printing/printers/bambu-lab-h2c/","x":"Bambu Lab CoreXY enclosed Users who often print in multiple colours or with several materials and want to reduce purge waste yes, up to 7 hotends with little purge waste; up to 24 spools with AMS PLA PETG TPU ABS ASA PC PA PET PPS CF-/GF-Filamente Hotend swapping via Vortek reduces purge waste in multi-colour printing Actively heated chamber up to 65 °C Several cameras and many sensors for print monitoring High purchase price Proprietary hotends and spare parts Only one hotend works on the right print head at a time, switching takes time"},{"t":"Creality K2","k":"Printers","d":"Entry-level model of the K2 series with 260 x 260 x 260 mm build volume and an enclosed housing without chamber heating. With the CFS, up to 16 colours are possible.","u":"/en/3d-printing/printers/creality-k2/","x":"Creality CoreXY enclosed Users looking for an enclosed printer for PLA, PETG and occasional ABS with optional multi-colour printing optional with CFS (up to 16 colours with four units) PLA PETG PET ABS PLA-CF Enclosed CoreXY printer with 260 mm build volume Multi-colour printing with CFS up to 16 colours Step-servo motors on X, Y and extruder Nozzle only up to 300 °C, bed only up to 100 °C No chamber heating and no LAN port Smaller range of materials than K2 Pro and K2 Plus"},{"t":"Creality K2 Plus","k":"Printers","d":"Flagship of the K2 series with 350 x 350 x 350 mm build volume and an actively heated chamber up to 60 °C. With the CFS, up to 16 colours are possible.","u":"/en/3d-printing/printers/creality-k2-plus/","x":"Creality CoreXY enclosed Users who want to print large parts from engineering filaments such as PA-CF or PPA-CF optional with CFS (up to 16 colours with four units) PLA PETG PET ABS ASA PLA-CF PA-CF PPA-CF Large build volume of 350 x 350 x 350 mm Actively heated chamber up to 60 °C Nozzle camera for automatic flow calibration Very heavy and takes up a lot of space Multi-colour printing only with an additional CFS User reports of inconsistent reliability in the early period"},{"t":"Creality K1C","k":"Printers","d":"Compact enclosed CoreXY printer with a 220 x 220 x 250 mm build volume and hardened nozzle up to 300 °C. It is now sold as the K1C 2025 with CFS compatibility.","u":"/en/3d-printing/printers/creality-k1c/","x":"Creality CoreXY enclosed For the price-conscious who want a compact enclosed printer for PLA, PETG and CF filaments optional with CFS and multicolour upgrade kit PLA PETG PET TPU ABS ASA PLA-CF PETG-CF PA-CF Enclosed at a low price Hardened quick-change nozzle for CF filaments Compact dimensions Small build volume of 220 x 220 x 250 mm Nozzle only up to 300 °C, bed only up to 100 °C Multi-colour printing only with CFS and conversion kit"},{"t":"Anycubic Kobra S1 Max","k":"Printers","d":"Enclosed CoreXY printer with 350 mm build volume and an actively heated chamber up to 65 °C. Multi-colour printing is possible with up to four ACE 2 Pro units.","u":"/en/3d-printing/printers/anycubic-kobra-s1-max/","x":"Anycubic CoreXY enclosed Users who want to print large-format parts from engineering filaments in a heated chamber optional with ACE 2 Pro (4 colours per unit, up to 16 colours with four units) PLA PETG PET TPU ABS ASA PC PA PVA CF-/GF-Filamente Large build volume of 350 × 350 × 350 mm Actively heated chamber up to 65 °C for engineering filaments Hardened nozzle and extruder gears, activated carbon filter, flow calibration Very heavy and large at 25.7 kg and about 50 × 48 × 58 cm Multi-colour printing only with an additional ACE 2 Pro unit One print head, colour changes produce filament waste"},{"t":"Qidi Q2","k":"Printers","d":"Enclosed CoreXY printer with an actively heated chamber up to 65 °C and hotend up to 370 °C. With up to four QIDI Boxes, up to 16 filaments can be used.","u":"/en/3d-printing/printers/qidi-q2/","x":"Qidi Tech CoreXY enclosed Users who want to print engineering filaments in a heated chamber and use Klipper firmware optional with QIDI Box (4 colours per box, up to 16 colours with four boxes) PLA PETG TPU ABS ASA PC PA CF-/GF-Filamente Actively heated chamber up to 65 °C and hotend up to 370 °C Three-stage air filter (pre-filter, HEPA H12, activated carbon) Klipper firmware, compatible with OrcaSlicer and PrusaSlicer Build volume of 270 × 270 × 256 mm is smaller than on 350 mm devices Multi-colour printing only with an additional QIDI Box Wi-Fi in the 2.4 GHz band only"},{"t":"Flashforge AD5X","k":"Printers","d":"Open CoreXY printer with a 220 mm build volume and integrated four-colour system IFS. Hotend up to 300 °C, print bed up to 110 °C.","u":"/en/3d-printing/printers/flashforge-ad5x/","x":"Flashforge CoreXY open Beginners who want to print in multiple colours in PLA or PETG and have little space yes, 4 colours with integrated IFS (Intelligent Filament System) PLA PETG TPU PLA-CF PETG-CF Four-colour printing with IFS as standard CoreXY with up to 600 mm/s and 20,000 mm/s² Compact and comparatively light Open design, not designed for ABS or ASA Rather small build volume of 220 × 220 × 220 mm No camera included"},{"t":"Sovol SV08","k":"Printers","d":"Open CoreXY printer with a 350 mm build volume and Klipper firmware, modelled on the Voron 2.4. Camera and lighting are included.","u":"/en/3d-printing/printers/sovol-sv08/","x":"Sovol CoreXY open Tinkerers who want to customise a large, open Klipper printer themselves no PLA PETG TPU PETG-CF ABS Large build volume of 350 × 350 × 345 mm High dynamics with up to 700 mm/s and 40,000 mm/s² Open Klipper firmware with input shaping and pressure advance Open design, enclosure only as an accessory Hotend only up to 300 °C, print bed only up to 100 °C No touchscreen as standard, no multi-colour printing"},{"t":"Bambu Lab X2D","k":"Printers","d":"Enclosed CoreXY printer with two nozzles and a mechanical nozzle change in the print head. Build volume 256 x 256 x 260 mm, actively heated chamber up to 65 °C.","u":"/en/3d-printing/printers/bambu-lab-x2d/","x":"Bambu Lab CoreXY enclosed Users who want to combine two materials, such as model and soluble support material, in a compact enclosure yes, 2 nozzles for two materials; more colours with AMS PLA PETG TPU PVA ABS ASA PC PA PET PPA CF-/GF-Filamente Two nozzles reduce purge waste with support material and colour changes Actively heated chamber up to 65 °C Three-stage air filtration with HEPA and activated carbon filter Nozzle only up to 300 °C Smaller build volume than the H2 series No LAN port"},{"t":"Elegoo Neptune 4 Pro","k":"Printers","d":"Open bed slinger with Klipper firmware and a 225 × 225 × 265 mm build volume. Network connection only via LAN.","u":"/en/3d-printing/printers/elegoo-neptune-4-pro/","x":"Elegoo Bed slinger open Beginners on a small budget who print PLA and PETG no PLA PETG TPU ABS ASA Nylon Segmented heated bed with two zones Automatic levelling with 121 points Klipper firmware with network printing via LAN No Wi-Fi Open frame, of limited suitability for ABS and ASA Bed slinger design limits the practically usable speed"},{"t":"Elegoo Neptune 4 Plus","k":"Printers","d":"Open bed slinger with Klipper firmware and a 320 × 320 × 385 mm build volume. Supplied as a kit.","u":"/en/3d-printing/printers/elegoo-neptune-4-plus/","x":"Elegoo Bed slinger open Users who print larger parts from PLA or PETG no PLA PETG TPU ABS ASA Nylon Large build volume of 320 × 320 × 385 mm Wi-Fi connectivity Magnetic PEI build plate Kit, assembly required Open frame, of limited suitability for ABS and ASA Large moving print bed limits the practically usable speed"},{"t":"Elegoo Neptune 4 Max","k":"Printers","d":"Open bed slinger with a 420 × 420 × 480 mm build volume and Klipper firmware. Needs a lot of space and assembly.","u":"/en/3d-printing/printers/elegoo-neptune-4-max/","x":"Elegoo Bed slinger open Users who print very large single parts in one piece no PLA PETG TPU ABS ASA Nylon Very large build volume of 420 × 420 × 480 mm High dimensional accuracy in the TechRadar test Dual Z lead screws for stable guidance Assembly by two people recommended because of the size Z offset had to be readjusted before printing during the test Dated-looking user interface"},{"t":"Qidi Q1 Pro","k":"Printers","d":"Enclosed CoreXY printer with active chamber heating up to 60 °C. Discontinued by Qidi, the successor is the Qidi Q2.","u":"/en/3d-printing/printers/qidi-q1-pro/","x":"Qidi Tech CoreXY enclosed Printing engineering materials such as ABS, ASA, PA and PC no PLA PETG ABS ASA TPU PA PC PET-CF PA12-CF PAHT-CF Active chamber heating up to 60 °C Hotend up to 350 °C for engineering materials Integrated camera with time-lapse No longer available Comparatively small build volume No multi-colour printing"},{"t":"Qidi X-Max 3","k":"Printers","d":"Enclosed CoreXY printer with 325 × 325 × 315 mm build volume and chamber heating up to 65 °C. Discontinued by Qidi, the successor is the Qidi Max4.","u":"/en/3d-printing/printers/qidi-x-max-3/","x":"Qidi Tech CoreXY enclosed Larger parts from engineering and fibre-reinforced materials no PLA PETG ABS ASA TPU PC Nylon PA12-CF PET-CF PAHT-CF Active chamber heating up to 65 °C Large enclosed build volume Second hotend made of hardened steel for abrasive filaments No longer available Camera only as a separate accessory High weight of 30.2 kg"},{"t":"Flashforge Adventurer 5M","k":"Printers","d":"Open CoreXY printer with a 220 × 220 × 220 mm build volume and tool-free nozzle change. Still offered by the manufacturer.","u":"/en/3d-printing/printers/flashforge-adventurer-5m/","x":"Flashforge CoreXY open Beginners who want to print PLA and PETG without much assembly no PLA PETG TPU PLA-CF PETG-CF 95% pre-assembled Tool-free nozzle change Compact footprint Hotend only up to 280 °C Open design, not designed for ABS Small build volume of 220 × 220 × 220 mm"},{"t":"Flashforge Adventurer 5M Pro","k":"Printers","d":"Enclosed variant of the Adventurer 5M with filters and camera. Build volume and print speed match the base model.","u":"/en/3d-printing/printers/flashforge-adventurer-5m-pro/","x":"Flashforge CoreXY enclosed Beginners who also want to print ABS and ASA indoors no PLA PETG ABS ASA TPU PLA-CF PETG-CF Enclosure with HEPA and activated carbon filter Integrated camera Quiet mode at 50 dB Hotend only up to 280 °C No active build volume heating Small build volume of 220 × 220 × 220 mm"},{"t":"Qidi Max4","k":"Printers","d":"Enclosed CoreXY printer with 390 × 390 × 340 mm build volume and chamber heating up to 65 °C. Successor to the Qidi X-Max 3.","u":"/en/3d-printing/printers/qidi-max4/","x":"Qidi Tech CoreXY enclosed Large parts from engineering and fibre-reinforced materials optional with Qidi Box (accessory, available as Combo) PLA PETG ABS ASA TPU PA PC CF/GF-verstärkte Filamente Large enclosed build volume of 390 × 390 × 340 mm Active chamber heating up to 65 °C and hotend up to 370 °C Closed-loop stepper motors (FOC) on the XY axes High weight of 40 kg Multi-colour printing only with an additional Qidi Box Large footprint"},{"t":"Sovol SV06","k":"Printers","d":"Open bed slinger with a 220 x 220 x 250 mm build volume and direct drive. No longer sold, the successor is the Sovol SV06 ACE.","u":"/en/3d-printing/printers/sovol-sv06/","x":"Sovol Bed slinger open Beginners and tinkerers looking for an open, simply built device no PLA PETG TPU ABS ASA PC PA Direct drive with planetary gearbox Automatic bed levelling with 25 points Dual Z axis with automatic alignment Recommended print speed only 80 mm/s No touchscreen, no Wi-Fi Kit, assembly needed"},{"t":"Sovol SV06 Plus","k":"Printers","d":"Open bed slinger with a 300 x 300 x 340 mm build volume and touchscreen. No longer sold, the successor is the Sovol SV06 Plus ACE.","u":"/en/3d-printing/printers/sovol-sv06-plus/","x":"Sovol Bed slinger open Users who want to print large parts on an open device no PLA PETG TPU ABS ASA PC PA Large build volume of 300 x 300 x 340 mm Automatic bed levelling with 25 points Filament sensor and resume after power failure Comparatively slow No Wi-Fi Kit, assembly needed"},{"t":"Sovol SV08 Max","k":"Printers","d":"Open CoreXY printer with a 500 x 500 x 500 mm build volume and Klipper firmware. Enclosure and chamber heating are available as options.","u":"/en/3d-printing/printers/sovol-sv08-max/","x":"Sovol CoreXY open Users who need very large prints and have experience with Klipper no PLA PETG TPU ABS ASA PA PC PLA-CF PETG-CF Very large build volume of 500 x 500 x 500 mm Klipper with Wi-Fi, Ethernet and camera Enclosure and chamber heating available as accessories Large footprint and high weight Loud in operation Assembly and setup are laborious"},{"t":"Creality K1 Max","k":"Printers","d":"Enclosed CoreXY printer with 300 x 300 x 300 mm build volume, LiDAR and AI camera. Still available in the Creality shop, no longer listed at 3DJake.","u":"/en/3d-printing/printers/creality-k1-max/","x":"Creality CoreXY enclosed Users looking for a large, enclosed printer for engineering filaments optional, with CFS upgrade kit for the K1 series PLA PETG TPU ABS ASA PA PC PLA-CF PA-CF PET-CF Enclosed build volume of 300 x 300 x 300 mm LiDAR and AI camera as standard Wi-Fi and Ethernet No active chamber heating High weight of 18 kg Retailer reviews mention failures of the extruder and sensors"},{"t":"Creality Ender-3 V3","k":"Printers","d":"Open printer with CoreXZ motion system and up to 600 mm/s. No longer sold, the Ender-3 V4 follows in the Ender-3 series.","u":"/en/3d-printing/printers/creality-ender-3-v3/","x":"Creality Bed slinger open Beginners looking for a fast, compact open device no PLA PETG TPU ABS PLA-CF PETG-CF CoreXZ with up to 600 mm/s Quick-change nozzle Automatic belt tensioning on X and Z Small build volume of 220 x 220 x 250 mm Camera only as an accessory No longer sold"},{"t":"Creality Ender-3 V3 KE","k":"Printers","d":"Open bed slinger with Klipper firmware and Sprite extruder. Still available in the Creality shop.","u":"/en/3d-printing/printers/creality-ender-3-v3-ke/","x":"Creality Bed slinger open Beginners on a small budget who want to use Wi-Fi printing no PLA PETG TPU ABS ASA Sprite direct drive up to 300 °C Wi-Fi and Creality Cloud PEI spring steel plate Acceleration of 8000 mm/s² is lower than on current CoreXY devices Camera only as an accessory Small build volume"},{"t":"Bambu Lab P1P","k":"Printers","d":"Open CoreXY printer with a 256 x 256 x 256 mm build volume, production discontinued in February 2026. Successors are the still available P1S and the newer P2S.","u":"/en/3d-printing/printers/bambu-lab-p1p/","x":"Bambu Lab CoreXY open Users who want to keep running a used or existing device optional, with AMS PLA PETG TPU PVA PET PA PC ABS ASA CoreXY with 20,000 mm/s² AMS-compatible for multi-colour printing Spare parts and support promised until February 2031 Open design, poorly suited to ABS and ASA Simple display without touch No longer sold"},{"t":"Anycubic Kobra 3 V2","k":"Printers","d":"Open bed slinger with a 255 x 255 x 260 mm build volume, camera and optional multi-colour printing. Sold out in the Anycubic shop, listed with restocking at 3DJake.","u":"/en/3d-printing/printers/anycubic-kobra-3-v2/","x":"Anycubic Bed slinger open Beginners who want to upgrade to multi-colour printing later optional, with ACE Pro PLA PETG TPU Camera and automatic flow calibration as standard Multi-colour printing possible with ACE Pro Automatic levelling without Z offset Officially recommended only for PLA, PETG and TPU Open design Currently sold out in the manufacturer's shop"},{"t":"Sovol SV06 ACE","k":"Printers","d":"Open bed slinger with Klipper, camera and pressure sensor levelling. Successor of the Sovol SV06 with a reinforced frame.","u":"/en/3d-printing/printers/sovol-sv06-ace/","x":"Sovol Bed slinger open Beginners and tinkerers looking for an open Klipper device with a small build volume no PLA PETG TPU ABS Klipper with Wi-Fi and integrated camera Automatic levelling with pressure sensor Up to 600 mm/s and 20,000 mm/s² Small build volume of 220 x 220 x 250 mm Fan noise criticised in the test Older SV06 cannot be upgraded to ACE"},{"t":"Sovol SV06 Plus ACE","k":"Printers","d":"Open bed slinger with a 300 x 300 x 350 mm build volume, Klipper and camera. Successor of the Sovol SV06 Plus.","u":"/en/3d-printing/printers/sovol-sv06-plus-ace/","x":"Sovol Bed slinger open Users who want to print large parts on an open Klipper device no PLA PETG TPU PVA Large build volume of 300 x 300 x 350 mm Klipper with Wi-Fi and integrated camera Assembly takes about 15 minutes according to the manufacturer Acceleration of 15,000 mm/s² is lower than on the SV06 ACE Enclosure fan criticised as loud in tests Open design"},{"t":"eufyMake E1","k":"UV printer","d":"Enclosed A3 UV printer with a six-channel print head, camera, app control and relief printing up to 5 mm. Objects up to 130 mm height; rotary printing and UV DTF film via accessories.","u":"/en/uv-printing/printers/eufymake-e1/","x":"eufyMake Flatbed and UV DTF Hobby and entry into small business with changing one-offs A3 print bed in a compact enclosure Relief printing up to 5 mm, with roll film attachment up to 10 m print length Enclosure with UV shielding and air filter, camera and laser for positioning and height measurement Closed cartridge system with chip, ink more expensive than with open systems High white and varnish consumption on relief prints The A3 plate extends out of the front and back: eufyMake requires 40 cm clearance at the front and back, 30 cm at the sides Rotary attachment, roll film attachment and laminator only at extra cost"},{"t":"Procolored V4","k":"UV printer","d":"Compact A5 UV printer with Epson L800 head for flat objects up to 15 mm height. Unsuitable for larger or round objects.","u":"/en/uv-printing/printers/procolored-v4/","x":"Procolored Flatbed Small flat parts such as key rings, cards and name tags Low entry price in the Procolored range Open bottle system with 250 ml bottles Automatic head cleaning Very small print area (A5) Maximum 15 mm object height Windows only, software via dongle"},{"t":"Procolored V6 Panda","k":"UV printer","d":"A4 flatbed printer with an L800 head and up to 110 mm object height. Round objects via optional holders.","u":"/en/uv-printing/printers/procolored-v6-panda/","x":"Procolored Flatbed Small business with phone cases, mugs and small promotional items Object height up to 110 mm Ink circulation and automatic head cleaning Optional holders for round objects Narrow print width of 170 mm Slow (A4 in about 23 min) No varnish channel"},{"t":"Procolored V11","k":"UV printer","d":"A3 UV printer with one Epson R1390 head and up to 140 mm object height. Procolored publishes only a few technical specs for this model.","u":"/en/uv-printing/printers/procolored-v11/","x":"Procolored Flatbed A3 printing of flat promotional items without varnish effects A3 print area (290 × 420 mm) Object height up to 140 mm Automatic white ink circulation and filter system Only one print head, no varnish Much of the data comes only from third-party sources, Procolored publishes hardly any technical data Windows only"},{"t":"Procolored V11 Pro","k":"UV printer","d":"A3 UV flatbed printer with two TX800 heads, white and varnish, and up to 140 mm object height. With the optional laminator, UV DTF stickers can also be made.","u":"/en/uv-printing/printers/procolored-v11-pro/","x":"Procolored Flatbed Small businesses with regular A3 production and varnish effects Two TX800 heads with varnish channel Object height up to 140 mm UV DTF stickers possible with optional laminator 70 kg and a large footprint Windows only, two programs (RIP and device control), software via dongle Mounts and laminator cost extra"},{"t":"Procolored VF13 Pro Panda","k":"UV printer","d":"Roll-fed UV DTF printer in A3+ format with two XP600 heads and integrated laminator. It prints transfer stickers, not directly onto objects.","u":"/en/uv-printing/printers/procolored-vf13-pro/","x":"Procolored UV-DTF Series production of UV DTF stickers for cups, bottles and packaging Printing and laminating in one device Roll operation with 31 cm film width and integrated cutter Stickers also adhere to curved surfaces No direct printing on objects Film costs extra per sticker on top of the ink Windows only"},{"t":"xTool O1 Omni","k":"UV printer","d":"A3 UV printer with Epson F1080 heads in three versions, including a version with textile printing. UV DTF with LM1 laminator. In the EU it is still on pre-order in 2026.","u":"/en/uv-printing/printers/xtool-o1-omni/","x":"xTool Flatbed and UV DTF Hobby and small businesses who also want to print textiles in addition to objects Three versions, with UV + DT also textile printing Relief printing up to 7 mm White ink circulation, print head moisture protection and cleaning via app Still on pre-order in the EU, delivery from mid-November 2026 according to the manufacturer Software described as buggy in pre-release tests Around 41 kg and wide housing Version cannot be changed later, UV DTF only with the LM1 laminator (accessory)"},{"t":"Longer ePrint","k":"UV printer","d":"A3 UV printer with two Epson F1080 heads, 12 ink channels and an open ink system. The single-head ePrint SE variant is smaller and lighter.","u":"/en/uv-printing/printers/longer-eprint/","x":"Longer Flatbed and UV DTF Small business that wants speed and an open choice of ink Two print heads and 12 channels Open ink system, third-party inks possible Flatbed, rotary, transfer film, roll and conveyor belt supported Still listed as a pre-order in the EU shop, shipping from the end of October 2026 according to the manufacturer (as of 15.10.2026); the Kickstarter delivery had been announced for June 2026 Relief figure corrected by the manufacturer from 60 mm to 15 mm Height differences in the design only up to 10 mm"},{"t":"Epson SureColor SC-V1000","k":"UV printer","d":"The Epson V1000 (SC-V1000) is an A4 UV flatbed printer with white and varnish and up to 70 mm object height. Sold through retailers with three years of on-site service.","u":"/en/uv-printing/printers/epson-surecolor-v1000/","x":"Epson Flatbed Businesses that prioritise manufacturer service and predictable maintenance Manufacturer's RIP and Epson inks from a single source 3 years on-site service Object height up to 70 mm A4 print area only Considerably more expensive than devices with a similar area Weight 59 kg, objects only up to 3 kg No rotary attachment"},{"t":"xTool S1 20W","k":"Laser","d":"Enclosed gantry diode laser with 20 W and class 1 safety. The cheaper S1 variant cuts up to about 10 mm of wood in one pass.","u":"/en/laser/machines/xtool-s1-20w/","x":"xTool Diode laser Diode 20 W optical; optional 2 W infrared 1064 nm Gantry enclosed Beginners and hobby makers looking for an enclosed diode laser for wood and leather who want to spend less than on the 40 W version. Wood MDF Paper Leather Felt Acrylic (opaque) Bamboo Fabric Glass (dark) Ceramic Stone Slate Cork Stainless steel (marking) Painted/coated metal Plastic (with IR module) Class 1 enclosure, designed for indoor use without laser safety glasses large work area of around 50 x 33 cm LightBurn support and optional 1064 nm module for metal and plastic no integrated camera, positioning by photo snapshot Air Assist only as an accessory Diode does not cut transparent acrylic"},{"t":"xTool S1 40W","k":"Laser","d":"Most powerful S1 variant with 40 W diode in an enclosed class 1 housing. Cuts up to 18 mm cherry wood in a single pass according to the manufacturer.","u":"/en/laser/machines/xtool-s1-40w/","x":"xTool Diode laser Diode 40 W optical; optional 2 W infrared 1064 nm Gantry enclosed Makers and small businesses who mainly cut wood and opaque acrylic and want an enclosed diode laser. Wood MDF Paper Leather Felt Acrylic (opaque) Bamboo Fabric Glass (dark) Ceramic Stone Slate Cork Stainless steel (marking) Painted/coated metal Plastic (with IR module) high cutting power for a diode laser (up to 18 mm wood according to the manufacturer) Class 1 enclosure with fume extraction LightBurn support and optional 1064 nm module no integrated camera Air Assist only as an accessory at 600 mm/s much slower than galvo machines when engraving"},{"t":"xTool F1 Ultra","k":"Laser","d":"Enclosed galvo engraver with a 20 W fibre laser and a 20 W diode laser. Designed for fast engraving of small parts, including on metal.","u":"/en/laser/machines/xtool-f1-ultra/","x":"xTool Combination machine Fibre laser 20 W (infrared) and diode 455 nm, 20 W optical Galvo enclosed Small business that engraves personalised metal and wood items in series. Wood Acrylic Leather Slate Glass Ceramic Plastic Stainless steel Brass Aluminium Anodised metal Fibre and diode in one device, so metal and wood without conversion very fast galvo engraving up to 10,000 mm/s Conveyor belt as an accessory for series production small work area of 220 x 220 mm only thin sheet metal can be cut Laser class depends on the variant (class 1 or class 4)"},{"t":"xTool F2 Ultra","k":"Laser","d":"Galvo combination device with 60 W MOPA fibre and 40 W diode. Top model of the F series for metalworking with colour marking and thin sheet cutting.","u":"/en/laser/machines/xtool-f2-ultra/","x":"xTool Combination machine MOPA fibre laser 60 W and diode 40 W optical (single version MOPA only) Galvo enclosed Commercial users focused on metal engraving and colour marking on stainless steel. Stainless steel Aluminium Brass Gold Silver Titanium Platinum Wood Acrylic Plastic Slate Glass Paper Cardboard MOPA source enables colour marking on metal cuts up to 2 mm brass and stainless steel Conveyor belt for 220 x 500 mm as an accessory no LightBurn support Class 4, safety glasses recommended high price and small footprint of 220 x 220 mm"},{"t":"xTool F2 Ultra UV","k":"Laser","d":"Enclosed galvo engraver with a 5 W UV laser (355 nm) for glass, crystal and plastics. Complements the F2 Ultra for materials that fibre and diode process poorly.","u":"/en/laser/machines/xtool-f2-ultra-uv/","x":"xTool UV laser (355 nm) UV laser 355 nm, 5 W Galvo enclosed Businesses focused on glass, crystal and plastic engraving. Glass Crystal (internal engraving) Ceramic Plastic ABS Films Silicon Paper Wood Cold processing with little heat input, suitable for glass and sensitive plastics Internal engraving in crystal (70 x 70 mm) very fine laser spot of 0.02 mm only 5 W, not intended for cutting Class 4 small work area of 200 x 200 mm"},{"t":"xTool F2","k":"Laser","d":"Successor to the F1 with 5 W IR and 15 W diode laser in a galvo design. Compact and designed for fast engraving of small items.","u":"/en/laser/machines/xtool-f2/","x":"xTool Combination machine Infrared 1064 nm, 5 W and blue diode 15 W Galvo enclosed Makers and market stalls who want to engrave small metal and wood parts on the go. Stainless steel Aluminium Anodised metal Copper Brass Titanium Gold Silver Platinum Plastic Wood Leather (PU) Ceramic Marble compact galvo engraver with IR and diode 50 MP camera with autofocus and live preview Work area extendable to 115 x 400 mm with the Slide Extension no LightBurn support very small footprint of 115 x 115 mm Laser class 4: protective cover can be operated open, safety goggles required"},{"t":"xTool M2","k":"Laser","d":"Enclosed diode laser with 10 W or 20 W and optional CMYK inkjet module. Replaces the M1 Ultra in the range, but does without knife and pen.","u":"/en/laser/machines/xtool-m2/","x":"xTool Diode laser blue diode 10 W or 20 W optical; optional 3 W infrared 1064 nm; optional CMYK inkjet module Gantry enclosed Hobbyists and beginners who want to combine laser engraving with colour printing on paper, wood and fabric. Wood MDF Acrylic (opaque) Paper Cardboard Foam Leather Felt Fabric Cork Rubber Glass Ceramic Plastic Metal (with IR module) affordable entry into an enclosed class 1 laser Air Assist and two cameras as standard optional CMYK printing and 3 W IR module Inkjet and IR module cost extra no more knife cutting as on the M1 Ultra no third-party air pump can be connected"},{"t":"xTool X1","k":"Laser","d":"Enclosed 55 W CO₂ laser with a flying galvo head (20 W diode) and swappable modules for UV, MOPA and fibre. Pre-sale since 12.10.2026, shipping from 29.10.2026.","u":"/en/laser/machines/xtool-x1/","x":"xTool Combination machine CO₂ laser 55 W; diode galvo module 20 W (depending on variant, includes the galvo); optional UV 5 W (355 nm), MOPA 60 W and fibre 30 W (1,064 nm each), the modules use the galvo of the diode module Gantry and galvo enclosed Small businesses and ambitious makers who cut and engrave with CO₂ and want to add glass and metal later without buying a second device. Wood Acrylic Leather Paper Textiles Plastic Rubber Silicone Ceramic Glass (engraving; internal engraving only with UV module, at a refractive index of 1.54 up to 600 x 300 mm in the upper 50 mm, 60 x 300 mm at 50 to 100 mm depth) Metal (painted/coated with diode, bare metal with fibre or MOPA module; metal embossing up to 415 x 225 mm with extraction hood) 55 W CO₂ for cutting and 20 W diode galvo for fast engraving in one machine Galvo area of 615 x 320 mm, much larger than typical galvo lasers can be expanded later with UV, MOPA and fibre (laser swap) Pass-through (AutoPassthrough) for workpieces up to 299 cm long several lasers can be combined in one job, e.g. engrave with diode and cut with CO₂, without touching the workpiece 60 kg, two people needed to set it up; with laser module at the back (backpack) around 74 cm deep, with the lid open around 90 cm high Galvo and expansions only with the variant including the diode module (€3,959), each further module costs €1,979 to €3,169 No fume extraction included, according to xTool the air purifier costs about €1,000 extra; operation, module changes and calibration were not very intuitive in the first test"},{"t":"xTool P2S","k":"Laser","d":"Enclosed 55 W CO₂ laser in desktop format with 600 x 305 mm work area and pass-through. A solid all-rounder for wood and acrylic.","u":"/en/laser/machines/xtool-p2s/","x":"xTool CO₂ laser CO₂ laser tube 55 W Gantry enclosed Makers and small businesses who regularly cut acrylic and thicker wood. Wood Plywood Acrylic Fabric Leather EVA foam Felt Plastic Rubber Paper Cork Cardboard Glass (engraving only) Anodised metal Stainless steel (marking only with coating) cuts clear acrylic, which diode lasers cannot do AutoPassthrough for workpieces up to around 3 m long built-in Air Assist and LiDAR autofocus Base unit class 4 45 kg, needs a fixed location and fume extraction currently pre-order only"},{"t":"xTool P3","k":"Laser","d":"80 W CO₂ flagship with a work area of almost 92 x 46 cm, class 1 enclosure and plenty of automation. Considerably larger and faster than the P2S.","u":"/en/laser/machines/xtool-p3/","x":"xTool CO₂ laser CO₂ laser 80 W; optional 5 W infrared 1064 nm Gantry enclosed Workshops and businesses with large-format CO₂ jobs. Wood Plywood Acrylic Fabric Leather PU Bamboo Glass Metal (with IR module) Plastic (with IR module) large work area of 915 x 458 mm with class 1 AutoLift base with 220 mm height and integrated fire suppression twice the speed of the P2S high price large, heavy device (105 kg, 1,250 x 780 x 496 mm)"},{"t":"xTool M1 Ultra","k":"Laser","d":"4-in-1 creative machine with diode laser, knife, pen and inkjet. xTool discontinued it in August 2026, the successor is the M2.","u":"/en/laser/machines/xtool-m1-ultra/","x":"xTool Diode laser Diode 10 W or 20 W optical; plus knife, pen and CMY inkjet Gantry enclosed Hobbyists looking for a second-hand multi-purpose machine for paper, vinyl and wood. Wood MDF Leather Acrylic (opaque) Paper Vinyl Felt Fabric Glass Ceramic Marble Stainless steel (marking) Laser, knife, pen and inkjet in one device Class 1 Knife cutting for vinyl and fabric no longer available in the manufacturer's shop no camera slow at 400 mm/s and printing without true black"},{"t":"xTool F1","k":"Laser","d":"Compact galvo engraver from 2023 with 10 W diode and 2 W IR. Listed only as refurbished in the EU shop and replaced by the F2.","u":"/en/laser/machines/xtool-f1/","x":"xTool Combination machine Diode 455 nm, 10 W optical and infrared 1064 nm, 2 W Galvo enclosed Used buyers looking for a small galvo engraver for jewellery and small parts. Wood Acrylic Leather Paper Stainless steel Metal Plastic very compact and light Diode and IR in one galvo device Slide Extension for 115 x 400 mm no longer available new from the manufacturer very small work area low power for cutting"},{"t":"xTool F1 Lite","k":"Laser","d":"Pure 10 W diode version of the F1 with galvo deflection. No longer listed in the xTool EU shop, sold out at retailers.","u":"/en/laser/machines/xtool-f1-lite/","x":"xTool Diode laser 10 W optical diode Galvo enclosed Beginners looking for a small galvo engraver for wood and leather, used or as old stock. Wood Leather MDF Acrylic (dark) cheapest F version compact with carry handle LightBurn supported according to the retailer no IR laser, so no uncoated metal very small work area no longer listed in the manufacturer's shop"},{"t":"xTool D1 Pro 20W","k":"Laser","d":"Open 20 W diode laser with a 430 x 390 mm work area and for a long time the standard device of many makers. Discontinued since January 2025.","u":"/en/laser/machines/xtool-d1-pro/","x":"xTool Diode laser Diode 455 nm, 20 W optical (4 x 5 W combined) Gantry open Used buyers with their own workshop who want an open diode laser with a large area. Wood Plywood Paper Cardboard Cork Acrylic (opaque) Leather Plastic Marble Stone Tiles Glass Stainless steel (marking) Coated metal large open work area, with riser for taller workpieces LightBurn support inexpensive and well documented when used open design, class 4, safety glasses and fume extraction required discontinued by the manufacturer, accessory supply ran until January 2026 no camera, air assist only as an accessory"},{"t":"Creality Falcon2 22W","k":"Laser","d":"Open 22 W diode laser with a large work area and integrated air assist. In the EU it is now available mainly through retailers; in its EU shop Creality focuses on the enclosed Falcon2 Pro and A1 models.","u":"/en/laser/machines/creality-falcon2-22w/","x":"Creality Diode laser Diode 455 nm, 22 W optical (4 × 6 W diodes, FAC-compressed beam) Gantry open For beginners with space who want to cut large wood and acrylic parts cheaply. Wood Bamboo Kraft paper Cardboard Felt Leather Acrylic (black) Anodised metal Stainless steel (marking, colour engraving) painted tiles Large work area of 400 × 415 mm Integrated, software-controlled Air Assist Offline operation via TF card and touchscreen Open frame, laser class 4, safety glasses and extraction required No camera No longer listed in the EU manufacturer's shop, only via retailers or the US shop"},{"t":"Creality Falcon2 Pro 22W","k":"Laser","d":"Enclosed version of the Falcon2 with camera and monitoring sensors, available in 22, 40 and 60 W. Same work area as the open model, but laser class 1.","u":"/en/laser/machines/creality-falcon2-pro-22w/","x":"Creality Diode laser Diode 455 nm, 22 W optical; available as 40 W and 60 W variant (60 W with swappable 1.6 W detail module) Gantry enclosed For hobby rooms and flats that need an enclosed device with a large area. Cardboard Wood Bamboo Rubber Leather Fabric Acrylic Plastic Enclosed with laser class 1 and lid interlock Full 400 × 415 mm area despite the enclosure Camera, flame, airflow and lens monitoring Around 18 kg and takes up a lot of space No speed specified by the manufacturer Fume extraction only via optional accessories, no dedicated filter"},{"t":"Creality Falcon A1 Pro 20W","k":"Laser","d":"Enclosed 20 W diode laser with CoreXY drive, camera and autofocus, released in early 2026. With the optional 2 W IR module also for metal marking.","u":"/en/laser/machines/creality-falcon-a1-pro-20w/","x":"Creality Diode laser Diode 455 nm, 20 W optical; optional 2 W infrared 1064 nm (solid-state laser) Gantry enclosed For users who want a fast, enclosed machine with a camera and optional metal marking. Cardboard Wood Bamboo Rubber Leather Fabric Acrylic Plastic Stainless steel (marking, with IR) Aluminium (with IR) Brass (with IR) Gold and silver (with IR) Titanium (with IR) CoreXY mechanics at 600 mm/s Autofocus via camera and laser distance measurement Optional 2 W IR module for metal and plastic Smaller area (358 × 268 mm) than open devices in the same price range Limited build height, thick workpieces fit poorly IR module costs extra, kit contents unclear in the shop"},{"t":"Creality Falcon A1C","k":"Laser","d":"Compact, enclosed beginner laser with 5 or 10 W diode and optional IR module. Intended for small parts, not for cut-outs.","u":"/en/laser/machines/creality-falcon-a1c/","x":"Creality Diode laser Diode 5 W or 10 W optical, tool-free exchange; optional 1.2 W infrared Gantry enclosed For beginners who want to make small engravings such as pendants, coasters or labels at home. Wood Bamboo Paper Cork Cardboard Stone Leather Glass Fabric Plastic (with IR) Metal marking (with IR) Enclosed with class 1 at an entry-level price True autofocus and Wi-Fi Modules (5 W, 10 W, 1.2 W IR) tool-free exchange Very small work area of 150 × 150 mm No cutting specifications from the manufacturer White version cannot be retrofitted with a camera"},{"t":"Sculpfun S30 Ultra 33W","k":"Laser","d":"Open diode laser with 33 W and a very large work area. A lot of power per euro, but without convenience features such as camera or autofocus.","u":"/en/laser/machines/sculpfun-s30-ultra-33w/","x":"Sculpfun Diode laser Diode 455 nm, 33 W optical, focus 0.08 × 0.10 mm Gantry open For users with workshop space who want to cut and engrave large wooden boards. Wood MDF Stone Cardboard Plastic Leather Circuit boards Aluminium oxide Stainless steel 304 (marking) Ceramic Acrylic (cutting) Non-woven fabric Bamboo Very large area of 590 × 595 mm, extendable to 935 × 905 mm Automatic air assist with metal nozzle 33 W optical at a moderate price Open frame, class 4 requires safety goggles and fume extraction Manual focus, no camera The manufacturer does not state a maximum speed"},{"t":"Sculpfun SF-A9 40W","k":"Laser","d":"Open 40 W diode laser with a 400 × 400 mm area and automatic Air Assist. On clearance in the US shop, still listed at the regular price in the German shop.","u":"/en/laser/machines/sculpfun-sf-a9-40w/","x":"Sculpfun Diode laser Diode 450 nm, 40 W optical, switchable to 20 W, focus 0.1 / 0.15 mm Gantry open For users who want to cut a lot and are looking for a high-power open laser on a medium-sized area. Cardboard MDF Felt Cardboard Wood Bamboo Leather Fabric dark acrylic brushed stainless steel (marking) Dark anodised aluminium painted metal 40 W optical with switching to 20 W for fine engraving Wi-Fi, Bluetooth and app in addition to USB Flame and tilt sensor Manual focus Open frame, class 4 Manufacturer's statements on cutting thickness contradictory (text 20 mm, gallery 30 mm)"},{"t":"Sculpfun A9 Ultra (20 W Faser + 40 W Diode)","k":"Laser","d":"Open gantry laser with interchangeable 40 W diode and 20 W fibre source. Unusual combination that brings fibre laser metalworking together with a large area.","u":"/en/laser/machines/sculpfun-a9-ultra/","x":"Sculpfun Combination machine Diode 455 nm, 40 W optical (switchable to 20 W) and fibre laser 1064 nm, 20 W Gantry open For makers who cut wood and also want to engrave deeply into metal without buying two devices. Wood Paper Leather MDF Felt Bamboo Fabric dark acrylic dark glass Ceramic Jade Marble Slate Cement Brick Stainless steel Aluminium Brass Silver Gold Titanium Platinum Plastic coated and painted metal 20 W fibre laser for true metal engraving and thin metal cutting 40 W diode for wood and acrylic on the same frame Large material list from wood to precious metal Open frame, class 4, both 455 nm and 1064 nm require suitable safety glasses Manual focus Variant description unclear in the shop (the single variant lists both modules as included)"},{"t":"Sculpfun iCube Ultra","k":"Laser","d":"Compact, enclosed desktop laser with 12 W diode and optional 1.2 W IR head. Introduced in early 2026, a direct competitor to the Creality Falcon A1C and Atomstack P1.","u":"/en/laser/machines/sculpfun-icube-ultra/","x":"Sculpfun Diode laser Diode 455 nm, 12 W optical; optional 1.2 W infrared 1064 nm (dual version, switchable) Gantry enclosed For beginners with little space who want to engrave small parts and occasionally mark metal. Wood Paper Fabric Leather Cardboard Bamboo MDF Stone Ceramic Marble Felt dark acrylic dark glass Cork Stainless steel (marking) painted metal Gold, silver, titanium, brass, aluminium (with IR) Enclosed with class 1 and door interlock Autofocus and integrated smoke filtration IR module for metal can be retrofitted Small area of 150 × 150 mm (dual 150 × 135 mm) Camera and air assist only as accessories No Wi-Fi"},{"t":"Atomstack A70 Max","k":"Laser","d":"Open 70 W diode laser with a very large work area, the current flagship in the Atomstack range. Enclosure, camera and fume extraction are accessories.","u":"/en/laser/machines/atomstack-a70-max/","x":"Atomstack Diode laser Diode, 70 W optical, switchable to 35 W Gantry open For workshops that cut large sheets and do not want to set up a CO₂ machine. Wood Acrylic Leather Metal (surface) Stone Very large area of 850 × 800 mm 70 W diode for thick wood and acrylic cuts Autofocus at the push of a button Enclosure, air purifier and all-in-1 packages only available to pre-order in the EU shop (shipping early November 2026) Open frame, enclosure costs extra Incomplete manufacturer information (speed, dimensions, interfaces)"},{"t":"Atomstack X70 Max","k":"Laser","d":"Open 70 W diode laser with large area and touchscreen. In Atomstack's EU shop available with EU plug as a machine only, the packages are sold out (as of 15.10.2026).","u":"/en/laser/machines/atomstack-x70-max/","x":"Atomstack Diode laser Diode 455 nm, 70 W optical (switchable to 35 W) Gantry open For workshops that make large cuts and want an open device with a touchscreen. Wood Bamboo Cardboard Plastic Leather Circuit boards Glass Ceramic Stainless steel (marking) Acrylic Non-woven fabric thin sheet steel Large area of 850 × 800 mm Air assist and LightBurn licence included Automatic and manual focus Bundles with accessories sold out in the EU shop, only the machine available Open frame, class 4 Large footprint (over 1 m in both directions)"},{"t":"Atomstack A24 Pro","k":"Laser","d":"Pre-assembled 24 W diode laser in a unibody frame, can be upgraded to class 1 with an optional enclosure. The newer A24 Ultra is no longer listed in the shop.","u":"/en/laser/machines/atomstack-a24-pro/","x":"Atomstack Diode laser Diode, 24 W optical Gantry open For beginners who want a pre-assembled, fast device with an optional enclosure. Wood Leather Anodised metal coated metal dark acrylic Pre-assembled unibody frame with 600 mm/s Conveyor belt option for 360 × 800 mm Flame and tilt detection Smaller area than typical open machines Air Assist not included in the base unit Fixed-focus lens, no autofocus"},{"t":"Atomstack P1","k":"Laser","d":"Smallest enclosed Atomstack laser with 5 W diode and optional IR module. Intended for engraving, cutting only with thin material.","u":"/en/laser/machines/atomstack-p1/","x":"Atomstack Diode laser Diode 5 W optical; P1 Dual additionally 1.2 W infrared 1064 nm Gantry enclosed For occasional users who want to make small engravings such as key rings at their desk. Wood Leather Acrylic Paper Metal (marking, with IR) Stone Very compact (3 kg) and enclosed with class 1 Low entry price IR version for metal and plastic available Very small area of 110 × 110 mm Only 5 W, hardly suitable for cutting P1 Dual with IR module currently sold out in the EU shop"},{"t":"Ortur Laser Master 3 20W","k":"Laser","d":"Proven open diode laser from Ortur in 10, 20 and 40 W. There is no successor \"Laser Master 4\" or \"LM3 Pro\" as of October 2026.","u":"/en/laser/machines/ortur-laser-master-3-20w/","x":"Ortur Diode laser Diode 20 W optical, square spot 0.08 × 0.08 mm; alternatively 10 W or 40 W Gantry open For beginners and advanced users looking for a light open laser with good software integration. Wood Plywood Acrylic (black) Leather Stainless steel (marking, colour engraving) coated metal Light and fast at 20,000 mm/min Integrated Air Assist with pump Extensive safety features (tilt, emergency stop, exposure time limit) Open frame, class 4 No camera, no autofocus Slightly smaller area with 20 W and 40 W (400 × 380 mm)"},{"t":"Ortur R2","k":"Laser","d":"Enclosed desktop laser with camera and app workflow, available as 10 W, 20 W or with a 1.3 W IR module. Positioned between the mini devices and the large open frames.","u":"/en/laser/machines/ortur-r2/","x":"Ortur Diode laser 450 nm diode, 10 W or 20 W optical; optionally 1.3 W infrared 1064 nm Gantry enclosed For beginners who want an enclosed device with camera and app control without a PC. Wood Leather Silicone Glass Porcelain Stone Acrylic (with IR) Stainless steel (marking, with IR) Aluminium (with IR) Brass (with IR) Enclosed, class 1, with camera and fume extraction connection Flame detection with 5 sensors, lid and tilt shut-off Module choice of 10 W, 20 W and 1.3 W IR Medium area of 300 × 210 mm (20 W: 300 × 190 mm) No cutting specifications from the manufacturer LightBurn support not mentioned, focus on own app"},{"t":"Ortur H20","k":"Laser","d":"Enclosed diode laser with three-part modular housing and lifting platform, in 10 to 40 W plus optional 2 W IR. Ortur counterpart to the Falcon2 Pro and Atomstack Kraft.","u":"/en/laser/machines/ortur-h20/","x":"Ortur Diode laser Diode 10 W, 20 W or 40 W optical (interchangeable); optional 2 W infrared 1064 nm Gantry enclosed For users who want an enclosed machine that can be converted for taller workpieces. Wood Acrylic Plastic Metal (marking, with IR) Modular enclosure: usable open, raised or fully enclosed Motorised lifting platform and fume extraction connection Wi-Fi, USB and TF card Autofocus only on the 40 W module Cutting specifications precisely stated only for the 40 W module Contradictory camera resolution in the specs (200,000 vs. 2,000,000 pixels)"},{"t":"Acmer P2 33W","k":"Laser","d":"Open gantry diode laser with 33 W and a 42 x 40 cm work area, very cheap for its power class. Safety and fume extraction must be solved yourself with accessories.","u":"/en/laser/machines/acmer-p2-33w/","x":"Acmer Diode laser Diode 450 nm (±5 nm), 33 W optical; optional 2 W infrared 1064 nm (module A2) Gantry open Hobby makers with their own workshop or a way to vent fumes who want a lot of diode power for little money. Wood Plywood MDF Acrylic (opaque) Leather Glass Ceramic Slate Anodised metal Stainless steel (marking) thin sheet metal 33 W diode power cuts 7 mm plywood and 3 mm black acrylic in a single pass according to tests large work area of 42 x 40 cm, expandable to 42 x 80 cm with an extension kit Air Assist, flame sensor, tilt sensor, emergency stop and key switch as standard open frame without enclosure and fume extraction, smoke and laser light in the room Camera, honeycomb bed and enclosure cost extra Wi-Fi usable only with the app according to user reports, LightBurn runs over USB"},{"t":"Acmer P3 48W","k":"Laser","d":"Enclosed CoreXY diode laser with 48 W, integrated camera and air assist. Priced well below comparable class 1 machines from major brands.","u":"/en/laser/machines/acmer-p3-48w/","x":"Acmer Diode laser 48 W optical diode (switchable to 24 W); alternatively available as 24 W, 2 W infrared or 10 W diode plus 2 W infrared Gantry enclosed Beginners looking for an enclosed diode laser with camera for living spaces who want to spend little. Wood MDF Paper Leather Felt Acrylic (opaque) Bamboo Fabric Glass (dark) Ceramic Stone Marble Stainless steel (marking) Painted/coated metal enclosed housing with lid sensor and camera at a low price CoreXY mechanics at 800 mm/s optional conveyor belt for workpieces up to 4,000 mm long Cutting figures on the product page contradict each other Fan and light switch on the back, lighting partly obscured during operation (test) LightBurn via USB only, Wi-Fi only with the app"},{"t":"Longer Ray5 20W","k":"Laser","d":"Affordable open diode laser with 20 W, touchscreen and Wi-Fi. For serious cutting you need the Cutting Kit with Air Assist.","u":"/en/laser/machines/longer-ray5-20w/","x":"Longer Diode laser Diode 450 nm, 20 W optical; optional infrared module 1064 nm (Ruby) Gantry open Beginners on a small budget who want to engrave and occasionally cut thin wood. Wood MDF Paper Leather Felt Acrylic (dark, opaque) Bamboo Fabric Glass Ceramic Stone Stainless steel (marking) Coated metal very affordable entry into the 20 W class Touchscreen and Wi-Fi for operation without a PC Work area extendable to 850 x 850 mm with an expansion kit open frame, air assist and extraction only as accessories low maximum speed of 10,000 mm/min with the 20 W module Manufacturer's page with incomplete and partly contradictory information"},{"t":"Longer Nano Pro 12W","k":"Laser","d":"Portable galvo diode laser with 12 W from two diodes. Very fast when engraving, but with a small field and without air assist.","u":"/en/laser/machines/longer-nano-pro-12w/","x":"Longer Diode laser two diodes 450 nm with FAC optics, 12 W optical combined Galvo open Makers who want to engrave small parts such as key rings or tags quickly in series. Plywood Basswood Hardwood Pine Bamboo Acrylic (opaque) Kraft paper Ceramic Stainless steel (marking) Aluminium (marking) Galvo technology with 5,000 mm/s, much faster than gantry diode lasers compact and portable expandable to 100 x 300 mm with Slide Extension small work field of 10 x 10 cm no Air Assist, odour stays in the room (test) expensive for a 12 W device"},{"t":"LaserPecker LP4","k":"Laser","d":"Portable galvo dual laser with 10 W diode and 2 W infrared. Good for fast engraving on mixed materials, hardly suitable for cutting.","u":"/en/laser/machines/laserpecker-lp4/","x":"LaserPecker Combination machine Diode 450 nm, 10 W optical, and infrared 1064 nm, 2 W Galvo open Personalisers who want to engrave small parts in wood, leather and metal with a single portable machine. Wood Bamboo Leather Paper Fabric Plastic Acrylic Glass (tinted) Ceramic (glazed) Food Anodised metal Painted metal Stainless steel (marking) Metal (with IR) two laser sources: diode for wood and leather, infrared for metal and plastic Galvo with 4,000 mm/s, compact and portable Bluetooth control via app without a PC small field of 160 x 120 mm Cutting only thin materials Protective enclosure costs extra"},{"t":"LaserPecker LP5","k":"Laser","d":"Portable galvo dual laser with 20 W fibre and 20 W diode. Successor to the LP4 with a true fibre source for metal, but a small work field.","u":"/en/laser/machines/laserpecker-lp5/","x":"LaserPecker Combination machine Fibre laser 1064 nm, 20 W, and diode 450 nm, 20 W optical Galvo open Jewellery and personalisation businesses that work metal and wood with one compact device. Wood Acrylic Leather Glass Stone Paper Rubber Food Plastic Stainless steel Aluminium Brass Silver Gold Platinum Titanium genuine 20 W fibre laser plus 20 W diode in one portable device cuts thin metal sheets up to 1 mm according to the manufacturer very high galvo speed of 10,000 mm/s small field (100 x 100 mm square, 120 x 160 mm ellipse) Enclosure with camera costs extra high price for a portable device"},{"t":"Bambu Lab H2D Laser","k":"Laser","d":"Dual-nozzle 3D printer with optional 10 or 40 W diode laser and cutting module in an enclosure. Strong as a combination device, rather expensive as a pure laser.","u":"/en/laser/machines/bambu-lab-h2d-laser/","x":"Bambu Lab Combination machine 3D printer (dual nozzle) with laser module: 455 nm diode, 10 W optical or 40 W optical; plus cutting module (blade) for film and stickers Gantry enclosed Makers who want a large multi-material 3D printer anyway and occasionally laser or plot. Wood Plywood Bamboo Cork Rubber Leather Faux leather Acrylic (dark) Stone thin sheet metal Stainless steel (marking) 3D printer, laser and cutting plotter in one enclosed device Class 1 with flame sensors, AI fire detection, door sensor and emergency stop 40 W module cuts up to 15 mm plywood in a single pass Laser area of 310 x 270 mm is smaller than on pure laser machines in a similar price range no infrared or fibre laser for bare metals expensive if you only want to laser"},{"t":"Bambu Lab R1","k":"Laser","d":"Enclosed 55 W CO₂ laser with a 600 x 300 mm work area, class 1 and plenty of automation from beam alignment to focus. With a conveyor belt also suitable for long boards.","u":"/en/laser/machines/bambu-lab-r1/","x":"Bambu Lab CO₂ laser CO₂ laser 55 W Gantry enclosed Makers and small businesses looking for an enclosed CO₂ laser for wood and acrylic without a dedicated laser room. Wood Plywood Acrylic (also transparent) Leather Fabric Paper EVA foam Mussel shells Slate Glass (engraving only) Ceramic (engraving only) Anodised aluminium Coated metal (engraving only) Class 1 in the base unit, can be used without safety goggles and a dedicated laser room plenty of automation: beam alignment, autofocus and camera positioning to under 0.2 mm with conveyor, material up to 3 m long, in a small footprint very loud according to the test, the fans run continuously for 18 mm wood an additional focus lens is required class 4 with a riser base or conveyor, in which case CO₂ safety glasses are mandatory"},{"t":"Snapmaker Ray 40W","k":"Laser","d":"Open 40 W diode laser with 40 x 60 cm area and Air Assist. No longer available in the manufacturer's shop, Snapmaker currently offers no standalone laser device.","u":"/en/laser/machines/snapmaker-ray-40w/","x":"Snapmaker Diode laser Diode 450 to 460 nm, 40 W optical (also available as 20 W in the past); optional infrared module 1064 nm Gantry open Buyers of surplus stock or used devices who are looking for a large work area with a 40 W diode. Wood MDF Leather Fabric Acrylic (opaque) Stainless steel (marking) large work area of 40 x 60 cm Air Assist as standard class 1 with optional enclosure no longer available in the manufacturer's shop open class 4 setup without enclosure no integrated camera"},{"t":"WeCreat Vision 20W","k":"Laser","d":"Enclosed 20 W diode laser with camera, auto lift and Air Assist. Convenient, but with a medium-sized work area.","u":"/en/laser/machines/wecreat-vision-20w/","x":"WeCreat Diode laser Diode 20 W optical; optional 2 W infrared 1064 nm (interchangeable) Gantry enclosed Beginners and small shops who want an enclosed diode laser with camera for tumblers and wooden items. Wood MDF Paper Cardboard Leather Felt Jeans Acrylic (dark) Bamboo Fabric Glass (dark) Ceramic Marble Brick Stainless steel (marking) Coated metal automatically height-adjustable floor up to 140 mm, no spacer blocks needed Camera, air assist and enclosure as standard optional conveyor for workpieces up to 3,480 mm length Work area smaller than on many open diode lasers Fume extraction costs extra Manufacturer's page with contradictory information on dimensions and cutting speed"},{"t":"WeCreat Vision Pro 45W","k":"Laser","d":"Larger and more powerful sibling of the Vision with 45 W diode, LiDAR autofocus and lifting table. Expensive for a diode laser, but very complete.","u":"/en/laser/machines/wecreat-vision-pro-45w/","x":"WeCreat Diode laser Diode 45 W optical (BeamFocus); optional 2 W infrared 1064 nm (swappable) Gantry enclosed Small shops that want to cut thicker wood too with an enclosed diode laser. Wood MDF Paper Leather Felt Acrylic (dark) Bamboo Fabric Glass (dark) Ceramic Stone Stainless steel (marking) Coated metal 45 W diode in an enclosed class 1 enclosure LiDAR autofocus and automatic lifting table up to 140 mm optional conveyor belt for long workpieces no emergency stop switch (test) MakeIt software and Wi-Fi connection partly unstable in testing No manufacturer speed figures, cutting values contradictory"},{"t":"ComMarker B4 20W","k":"Laser","d":"Compact 20 W fibre laser with galvo head and electric Z axis. Good for marking metal, unsuitable for wood.","u":"/en/laser/machines/commarker-b4-20w/","x":"ComMarker Fibre laser Fibre laser 1064 nm, 20 W (also 30, 50 and 100 W) Galvo open Personalisers who want to mark metal parts such as jewellery, tags and tools. Stainless steel Aluminium Brass Anodised metal Plastic Leather Stone Wood (varnished only) compact fibre laser with electric height adjustment and dual red dot focusing Lenses for 110 x 110 and 200 x 200 mm LightBurn compatible open galvo design, protective enclosure and fume extraction extra untreated wood is hard to engrave (test) no EU shop, prices in USD only"},{"t":"OMTech Polar Lite 55W","k":"Laser","d":"Desktop CO₂ laser with 55 W, 50 x 30 cm area, camera and autofocus. A solid entry into CO₂, but large and heavy.","u":"/en/laser/machines/omtech-polar-lite-55w/","x":"OMTech CO₂ laser CO₂ tube, 55 W Gantry enclosed Makers who are switching from diode to CO₂ and want to cut acrylic and thicker wood. Wood Acrylic Leather Fabric Glass Stone Plastic Coated metal CO₂ laser also cuts transparent acrylic Camera, autofocus and integrated water cooling Passthrough front and back (400 x 7 mm) heavy and bulky at 41 kg and over 1 m long Glass tube is a wear part"},{"t":"OMTech F30C 30W","k":"Laser","d":"Compact galvo fibre laser with 30 W and autofocus from the German OMTech shop. Pure metal marker without protective enclosure.","u":"/en/laser/machines/omtech-f30c/","x":"OMTech Fibre laser Fibre laser 1064 nm, 30 W Galvo open Workshops and shops that label or personalise metal parts. Stainless steel Aluminium Brass Copper Plastic (hard) One-click autofocus Purchase in the German shop with shipping from Germany Marking accuracy ±0.01 mm open design without enclosure and extraction Work area stated inconsistently (150 x 150 or 110 x 110 mm) only useful for metal and hard plastics"},{"t":"Thunder Laser Bolt 30W","k":"Laser","d":"Compact enclosed CO₂ laser with RF tube, camera and 2,000 mm/s. Designed for engraving speed and precision, not for thick cutting.","u":"/en/laser/machines/thunder-laser-bolt/","x":"Thunder Laser CO₂ laser CO₂ RF metal tube, 30 W (SPT); optional 60 W SPT or 30 W Coherent Gantry enclosed Small businesses that need fast, precise CO₂ engraving in series. Wood Acrylic Delrin Fabric Leather Paper Mylar Rubber Veneer Cork Corian Plastic Anodised metal Painted metal Glass (engraving) Ceramic Marble RF tube with a very fine engraving dot and long service life 2,000 mm/s and 5G acceleration Class 1, camera and autofocus expensive for 30 W Weighs 77 kg no prices on the EU site"},{"t":"Thunder Laser Nova 35","k":"Laser","d":"Large-format CO₂ laser with an 80 W glass tube and a 90 x 60 cm area. A workshop machine, not a desktop laser.","u":"/en/laser/machines/thunder-laser-nova-35/","x":"Thunder Laser CO₂ laser CO₂ glass tube (DC), 80 W; optionally 100 W or 130 W Gantry enclosed Workshops and small-batch manufacturers who cut wood and acrylic in large formats. Wood Acrylic Delrin Fabric Leather Paper Melamine Rubber Veneer Fibreglass Cork Corian Plastic Anodised metal Painted metal Glass (engraving) Ceramic Marble large work area of 90 x 60 cm 80 to 130 W for thick wood and acrylic LightBurn licence for two PCs included 310 kg floor-standing unit, needs a fixed location and fume extraction duct Water cooling via an external chiller required no prices on the EU page, camera only optional"},{"t":"Gweike G2 20W","k":"Laser","d":"The G2 20W is a compact galvo fibre laser at 1064 nm for marking and engraving on metal and plastic. It comes with a protective cover and either manual or electric height adjustment.","u":"/en/laser/machines/gweike-g2-20w/","x":"Gweike Fibre laser Ytterbium fibre laser 20 W, 1064 nm, 0.67 mJ Galvo enclosed Beginners who want to mark metal, jewellery and plastic or engrave them shallowly. Stainless steel Aluminium Brass Precious metals (gold, silver) coated metal Plastic Acrylic Leather Stone/slate Cheapest entry into fibre laser engraving at Gweike Compact and light (6.5 kg), can also be used handheld LightBurn compatible and controllable via app 20 W only: deep engravings and cuts in metal need many passes Laser class, fume extraction and air assist not specified by the manufacturer Small marking field of 110 x 110 mm in the base variant"},{"t":"Gweike G2 PRO 30W","k":"Laser","d":"The G2 PRO is the 30 W version of Gweike's compact galvo fibre laser. It is suited to marking, deep engraving up to 3 mm in metal and engraving on plastic.","u":"/en/laser/machines/gweike-g2-pro-30w/","x":"Gweike Fibre laser Ytterbium fibre laser 30 W, 1064 nm, 0.67 mJ Galvo enclosed Small workshops that regularly engrave metal and need more speed than with the 20 W model. Stainless steel Aluminium Brass Precious metals (gold, silver) coated metal Plastic Acrylic Leather Stone/slate Noticeably faster than the 20 W version for deep engraving (brass 3.7 mm instead of 2.1 mm in the manufacturer's test) Protective cover with fan and emergency stop included LightBurn compatible, also controllable via app Cuts metal only thinly and in many passes No manufacturer information on laser class and Air Assist No camera, alignment only via laser preview"},{"t":"Gweike G2 MAX 50W","k":"Laser","d":"The G2 MAX is the 50 W galvo fibre laser of the G2 series with a 150 x 150 mm marking field. It targets fast deep engraving and thin metal cuts.","u":"/en/laser/machines/gweike-g2-max-50w/","x":"Gweike Fibre laser Ytterbium fibre laser 50 W, 1064 nm, 0.67 mJ Galvo enclosed Commercial users who do a lot of deep engraving in metal and want a compact machine. Stainless steel Aluminium Brass Precious metals (gold, silver) coated metal Plastic Acrylic Leather Stone/slate Strongest G2 variant: deep engraving up to 5 mm in metal according to the manufacturer Larger marking field of 150 x 150 mm and electric height adjustment as standard Compact design despite 50 W Noticeably higher price than the G2 PRO No manufacturer information on laser class, air assist and camera No camera specified, alignment only via laser preview"},{"t":"Gweike G3","k":"Laser","d":"The G3 (\"G3 Basic\" in the shop) combines a 1064 nm fibre laser with a 450 nm diode laser in an enclosed housing. The base version has 20 W each; more powerful fibre versions with 30 W and 50 W are listed but sold out.","u":"/en/laser/machines/gweike-g3/","x":"Gweike Combination machine Fibre laser 20 W (1064 nm) and diode laser 20 W (450 nm); fibre optionally 30 W or 50 W Galvo enclosed Makers who want to engrave both metal and wood and leather with one device and can manage with a small area. Stainless steel Aluminium Brass Silver Gold Platinum Titanium Plastic Wood MDF Bamboo Leather Paper Felt Fabric dark acrylic dark glass Ceramic Stone/slate coated and painted metal Fibre and diode laser in one enclosed device for metal and wood 16 MP camera and autofocus make alignment easier Optional conveyor extends the area to 170 x 1000 mm Small work area of 170 x 170 mm Base version without MOPA, so no colour engraving on metal Laser class, fume extraction and air assist not specified by the manufacturer"},{"t":"Gweike G3 MOPA","k":"Laser","d":"The G3 MOPA combines a 30 W or 60 W MOPA fibre laser and a 40 W diode laser in an enclosed galvo device. Compared with the G3 Basic, it can engrave metal in colour and has the stronger diode.","u":"/en/laser/machines/gweike-g3-mopa/","x":"Gweike Combination machine 30 W MOPA fibre laser (1064 nm) and 40 W diode laser (450 nm); MOPA optionally 60 W Galvo enclosed Commercial makers who need colour engraving on metal and diode work on wood in one machine. Stainless steel Aluminium Brass Silver Gold Platinum Titanium Plastic Wood MDF Bamboo Leather Paper Felt Fabric dark acrylic dark glass Ceramic Stone/slate coated and painted metal MOPA fibre enables colour engraving on metal Strong 40 W diode laser for wood and leather Enclosed housing with OD5+ viewing protection, camera and autofocus High price for a 170 x 170 mm work area 60 W Ultra variant currently sold out Laser class, fume extraction and air assist not specified by the manufacturer"},{"t":"Gweike MCore","k":"Laser","d":"The MCore is an enclosed gantry laser cutter with a 400 W fibre laser and an 80 W CO₂ laser on 711 x 411 mm. According to the manufacturer, it cuts up to 5 mm steel and 20 mm acrylic in a single pass and is listed as a pre-sale in the EU shop.","u":"/en/laser/machines/gweike-mcore/","x":"Gweike Combination machine Fibre laser 400 W and CO₂ laser 80 W Gantry enclosed Small businesses that want to cut sheet metal and acrylic without setting up an industrial system. Stainless steel Carbon steel Brass Aluminium Titanium alloy Wood MDF Acrylic Leather Fabric Glass Ceramic Bamboo Cuts metal up to 5 mm and acrylic up to 20 mm in one pass Large work area of 711 x 411 mm with servo drive Fibre and CO₂ in one enclosed machine Very expensive, air supply for metal cutting costs extra 135 kg weight, needs a sturdy table and space Windows software only, no details on cooling, fume extraction and laser class"},{"t":"Gweike G1","k":"Laser","d":"The G1 is an open 10 W diode laser with a 410 x 310 mm work area, air assist and control via LightBurn over USB. Safety glasses, honeycomb bed and rotary attachment cost extra.","u":"/en/laser/machines/gweike-g1/","x":"Gweike Diode laser Diode laser 450 nm, 10 W optical Gantry open Beginners on a small budget who want to engrave wood, leather and cardboard and cut thin material. Wood Plywood MDF dark acrylic Paper Cardboard Leather Felt Stone/slate coated metal Business cards made of aluminium (engraving only) Very affordable entry point with a 410 x 310 mm work area Air assist built in Emergency stop and tilt sensor that switches off the laser Open design: safety goggles required, not included in the delivery Only 10 W and 400 mm/s, thick wood needs several passes USB only, no Wi-Fi"},{"t":"Gweike G6 Split","k":"Laser","d":"The G6 Split is an open galvo fibre laser at 1064 nm in four power levels from 30 to 100 W and a 175 x 175 mm marking field. It is controlled with EZCAD2 or LightBurn.","u":"/en/laser/machines/gweike-g6-split/","x":"Gweike Fibre laser Q-switched fibre laser (Raycus), 1064 nm, 30 W; 50, 70 or 100 W optional Galvo open Workshops that want to mark and deeply engrave metal and can secure an open workstation. Stainless steel Aluminium Brass Precious metals coated metal Plastic Leather Glass Tiles Stone/slate Selectable up to 100 W fibre power Optional electric height adjustment and autofocus Split design: laser source and marking head separate Open design without protective cover: safety goggles required No colour engraving on metal (no MOPA) Dimensions and weight not specified by the manufacturer"},{"t":"Gweike G6 MOPA","k":"Laser","d":"The G6 MOPA is an open galvo fibre laser with a JPT M7 MOPA source in 30, 60 or 100 W and a 175 x 175 mm marking field. According to the manufacturer, the adjustable pulse width enables colour engraving on metal.","u":"/en/laser/machines/gweike-g6-mopa/","x":"Gweike Fibre laser MOPA fibre laser (JPT M7), 1064 nm, 30 W; optionally 60 or 100 W; pulse width 2 to 350 ns Galvo open Commercial makers who want to engrave metal in colour or mark plastic finely Stainless steel Aluminium Brass Precious metals coated metal Plastic Leather Glass Tiles Stone/slate MOPA: colour engraving on stainless steel possible according to the manufacturer Adjustable pulse width for fine results on plastic and metal Up to 100 W and optional autofocus Open design without protective cover: safety goggles required More expensive than the G6 Split with the same power Dimensions and weight not specified by the manufacturer"},{"t":"Gweike G6 Split MOPA","k":"Laser","d":"The G6 Split MOPA combines the split design of the G6 Split with the MOPA source of the G6 MOPA: 30, 60 or 100 W, 175 x 175 mm marking field, open design.","u":"/en/laser/machines/gweike-g6-split-mopa/","x":"Gweike Fibre laser MOPA fibre laser (JPT M7), 1064 nm, 30 W; optionally 60 or 100 W; pulse width 2 to 350 ns Galvo open Commercial makers who need colour engraving on metal and want to position the marking head flexibly. Stainless steel Aluminium Brass Precious metals coated metal Plastic Leather Glass Tiles Stone/slate MOPA: colour engraving on stainless steel possible according to the manufacturer Split design: laser source and marking head separate Up to 100 W and optional autofocus Open design without protective cover: safety goggles required Most expensive G6 variant Dimensions and weight not specified by the manufacturer"},{"t":"Gweike G7 UV","k":"Laser","d":"The G7 is an open galvo UV laser at 355 nm in 5, 10 or 15 W and a 110 x 110 mm marking field. UV light marks glass and plastic with little heat.","u":"/en/laser/machines/gweike-g7/","x":"Gweike UV laser (355 nm) UV laser (JPT), 355 nm, 5 W; optionally 10 or 15 W Galvo open Businesses that want to mark glass, plastic and sensitive materials finely and without heat marks. Glass Silicone Paper Leather Sheets Quartz Wood Plastic UV laser: cold marking on glass and plastic Up to 15 W UV power Optional electric height adjustment and autofocus Very expensive, 15 W over €10,000 Small marking field of 110 x 110 mm Open design, no manufacturer information on cooling, dimensions and weight"},{"t":"Gweike M3","k":"Laser","d":"The M3 is a gantry system with a 1,200 W fibre laser and an 80 W CO₂ laser (ULTRA: 130 W). The fibre unit cuts, welds and cleans metal, the CO₂ laser cuts and engraves non-metals.","u":"/en/laser/machines/gweike-m3/","x":"Gweike Combination machine Fibre laser 1,200 W (1,080 nm) and CO₂ laser 80 W (M3 PRO); M3 ULTRA with 130 W CO₂ and a larger bed Gantry enclosed Metalworking and signmaking businesses that cut and weld sheet metal and need CO₂ work in one machine. Stainless steel Carbon steel Aluminium Brass Wood Acrylic Leather Six functions: metal cutting, welding, cleaning, CO₂ cutting and engraving Metal up to 10 mm and acrylic or wood up to 20 mm 620 x 620 mm bed (ULTRA 1,380 x 920 mm) Laser class 4, requires a secured room and protective equipment 300 kg, separate compressor and assist gas required Oversized and expensive for hobby use"},{"t":"Gweike Cloud Pro II 50W","k":"Laser","d":"Enclosed desktop CO₂ laser with 50 W, integrated cooling and rotary attachment. Well equipped, but currently not available.","u":"/en/laser/machines/gweike-cloud-pro-ii-50w/","x":"Gweike CO₂ laser CO₂ glass tube, 50 W Gantry enclosed Beginners in CO₂ who want a fully equipped desktop device without an additional chiller. Wood Acrylic Leather Paper Rubber Cork Fabric Glass (engraving) Ceramic Marble Anodised metal Painted metal built-in water chiller, compressor and rotary attachment Camera with AI positioning and autofocus modes Class 1 with a compact overall height currently sold out and not listed in the EU shop USB only, no Wi-Fi Glass tube is a wear part"},{"t":"Monport Reno45 Pro","k":"Laser","d":"Compact desktop CO₂ laser with 45 W, water cooling and pass-through, also listed by the manufacturer as the Reno 45 Pro. Affordable, but without a camera and with class 4.","u":"/en/laser/machines/monport-reno45-pro/","x":"Monport CO₂ laser CO₂ tube 10,600 nm, 45 W Gantry enclosed Hobby makers who want an affordable entry into CO₂ and mainly cut acrylic and wood. Wood Acrylic Leather Paper Textiles Glass Plastic Ceramic tiles Painted/coated metal cheap CO₂ laser from a German shop with 2 years' warranty integrated water cooling (3 l tank), Air Assist and front pass-through magnetically assisted focus with 100 mm Z axis Class 4 according to the manufacturer despite the enclosure no camera in the Pro variant Tube has only 6 months warranty, lifespan strongly depends on power"},{"t":"Acmer S2 Pro 48W","k":"Laser","d":"Open gantry diode laser with up to 48 W, linear guides and integrated Air Assist. Manufacturer's specifications are incomplete.","u":"/en/laser/machines/acmer-s2-pro-48w/","x":"Acmer Diode laser Diode 450 nm (±5 nm), 48 W according to the manufacturer; alternatively as 36 W, IR module in the IR Pack Gantry open Hobby makers with a workshop who want a lot of diode power on a large area at a low price and accept data gaps. Wood Plywood Paper Leather Acrylic (opaque) 48 W diode power and 40 x 40 cm work area from €665 Linear guides on both axes instead of wheels Air assist with 30 l/min built in The manufacturer does not state a laser class open frame without enclosure and extraction Camera and rotary attachment only in more expensive packages"},{"t":"Acmer P3 10W Diode + 2W IR","k":"Laser","d":"Enclosed CoreXY laser with 10 W diode and 2 W infrared, camera and fume extraction. An affordable entry into diode plus IR, but weak at cutting.","u":"/en/laser/machines/acmer-p3-ir-dual/","x":"Acmer Combination machine Diode 10 W (455 ± 5 nm) and infrared 2 W (1064 ± 1 nm) in a dual module Gantry enclosed Beginners who want to engrave wood and leather and also mark metal without buying two devices. Wood Plywood MDF Bamboo Paper Leather Acrylic (opaque) Plastic Ceramic Stone Anodised metal Painted/coated metal Stainless steel (marking) Aluminium (marking) Brass/copper (marking) Gold/silver (marking) Diode and infrared in one module, mark metal without changing modules enclosed housing with camera, class 1 optional conveyor belt for long workpieces only 10 W diode power, much weaker at cutting than the 48 W version Exhaust without filter, hose to the outside required according to a test, laser light escapes through the ventilation slots at some angles"},{"t":"Acmer GE1","k":"Laser","d":"Compact, enclosed galvo laser with a 10 W diode and 2 W infrared. Fast and versatile, but with a small work area.","u":"/en/laser/machines/acmer-ge1/","x":"Acmer Combination machine Diode 10 W (blue) and infrared 2 W, galvo deflection (wavelengths: not specified by the manufacturer) Galvo enclosed Makers who want to engrave small parts quickly and mark metal and work with Windows or Android. Wood Cardboard and paper Leather Cork Stone Glass Silicone Acrylic (dark) Plastic (selected) Food Stainless steel (marking) Aluminium (marking) Titanium (marking) Brass (marking) Iron (marking) Gold, silver, platinum (marking) Galvo with diode and infrared in an enclosed device under €1,000 motorised Z axis with autofocus for workpieces up to 110 mm high Sliding extension expands the area to 105 x 370 mm amber protective cover, safety interlock, emergency stop and overheating protection small marking area of 105 x 105 mm GE LAB does not run on macOS and iOS Weight and dimensions not specified"},{"t":"Acmer PM 60W MOPA","k":"Laser","d":"Open galvo fibre laser with 60 W MOPA, autofocus and a 175 x 175 mm field. A lot of power for the money; safety is up to the user.","u":"/en/laser/machines/acmer-pm-60w-mopa/","x":"Acmer Fibre laser MOPA fibre laser 60 W, 1064 nm, 1 to 4,000 kHz; series also available as 20, 30 and 50 W fibre and 30 and 100 W MOPA Galvo open Businesses and experienced makers who mark a lot of metal and organise the enclosure, fume extraction and laser protection themselves. Stainless steel Aluminium Brass/copper Anodised metal Plastic Leather Tile Stone Silicone 60 W MOPA with colour marking and autofocus, much cheaper than enclosed branded devices sturdy frame, rotary attachment and rotating column for tall or round parts according to a test, clean, fast engraving and deep engraving in metal open, without enclosure and fume extraction, only for a separate workshop included software is cumbersome, LightBurn costs extra hardly suitable for wood, paper and acrylic"},{"t":"Acmer SM 60W MOPA","k":"Laser","d":"Open split fibre laser with 60 W MOPA and autofocus. Fast and precise according to tests, safety and fume extraction have to be solved yourself.","u":"/en/laser/machines/acmer-sm-60w-mopa/","x":"Acmer Fibre laser MOPA fibre laser 60 W, 1064 nm, split design (source in the power supply housing); series also available as 30 and 50 W fibre and 100 W MOPA Galvo open Small businesses with their own laser workshop who want to mark metal parts in series. Stainless steel Aluminium Brass/copper Anodised metal Plastic Stone Split design with better cooling for long run times and tall workpieces Autofocus, rotary attachment and OD7 safety glasses included Field expandable to 300 x 300 mm with an additional lens no enclosure and no fume extraction, not even as an accessory Switch labelling and instructions unclear according to the test Weight and dimensions not stated, heavy and hardly portable"},{"t":"Acmer P1 S Pro 20W","k":"Laser","d":"Inexpensive open diode laser with 20 W and a 38 x 35 cm area. Plenty of power per euro, but sparse manufacturer data and no safety equipment.","u":"/en/laser/machines/acmer-p1-s-pro-20w/","x":"Acmer Diode laser Diode 20 W optical (wavelength: not specified by the manufacturer); also available as 6, 10, 36 and 48 W Gantry open Beginners on a small budget with a well-ventilated workspace. Wood Plywood MDF Paper Leather Acrylic (opaque) 20 W with air pump for around €263 Limit switches on X and Y axes same platform from 6 to 48 W, modules can be retrofitted open frame without enclosure, fume extraction and camera in the base version no information on safety sensors and laser class contradictory speed figures on the product page"},{"t":"Acmer P1 10W","k":"Laser","d":"Simple open diode laser with 10 W and a large work area. Very affordable, but accessories for clean cutting cost extra.","u":"/en/laser/machines/acmer-p1-10w/","x":"Acmer Diode laser Diode 450 nm (±5 nm), 10 W optical; 20 W version currently not available, 1064 nm IR module can be retrofitted Gantry open Beginners who mainly engrave and only cut thin material. Wood Plywood MDF Paper Leather Acrylic (opaque) 40 x 41 cm work area for around €209 Tilt sensor, emergency stop and child lock as standard IR module can be retrofitted for metal marking only 10 W, air assist and camera cost extra Cutting data not assigned to power open frame without enclosure and extraction"},{"t":"Acmer S2 20W","k":"Laser","d":"Compact open diode laser with 20 W and a 30 x 30 cm area. Inexpensive, but with very thin data.","u":"/en/laser/machines/acmer-s2-20w/","x":"Acmer Diode laser Diode 20 W (wavelength for 20 W: not specified by the manufacturer, the manual states 450 nm ±5 nm for 4 to 12 W); also available as 4, 7 and 12 W Gantry open Beginners with little space who mainly engrave. Wood Paper Leather Acrylic (opaque) Fabric Ceramic Stone Anodised metal 20 W with air pump for around €278 compact with a 30 x 30 cm area LightBurn compatible hardly any technical specifications from the manufacturer smaller work area than P1 and P2 at a similar price open, without enclosure and extraction"},{"t":"Acmer K1 12W","k":"Laser","d":"Small enclosed diode laser with up to 12 W and a 15 x 15 cm area. Inexpensive and compact, but with many manufacturer details left open.","u":"/en/laser/machines/acmer-k1-12w/","x":"Acmer Diode laser Diode 12 W (wavelength: not specified by the manufacturer); also as 2.5, 3.5 and 7 W, modules interchangeable Gantry enclosed Hobbyists who want to do small engraving jobs at home and have hardly any space. Wood Plywood Paper Leather Acrylic (opaque) Anodised metal enclosed small device for around €252 only 2.4 kg and 29 x 27 cm footprint according to users, pauses when the lid is opened or tilted small work area of 15 x 15 cm no manufacturer information on extraction, Air Assist and cutting capacity Laser class 1 documented only as a marketing claim"},{"t":"Acmer S1 6W","k":"Laser","d":"Mini diode laser with up to 6 W and a 13 x 13 cm area. Affordable entry point, too small for larger projects.","u":"/en/laser/machines/acmer-s1-6w/","x":"Acmer Diode laser Diode 6 W (wavelength for 6 W: not specified by the manufacturer, the manufacturer's specs state 450 nm ±5 nm for 2.5 and 3.5 W); also available as 2.5 and 3.5 W, 1064 nm module can be retrofitted Gantry open Beginners who want to try laser engraving on small parts for very little money. Wood Plastic Paper Leather Acrylic (opaque) Glass very cheap, from €73 (6 W: €103) fully assembled, light at 1.5 kg matching mini enclosure as an accessory only 13 x 13 cm work area hardly any information on interfaces and safety open, without extraction"},{"t":"Carverall K4 Pro","k":"Laser","d":"The K4 Pro is a mini diode laser with 3 W and an 80 x 80 mm work area in a small enclosure with a protective cover. It weighs 0.56 kg according to the manufacturer and is suited to small engravings, not cutting.","u":"/en/laser/machines/carverall-k4-pro/","x":"Carverall Diode laser 450 nm diode laser, 3 W (power according to the model overview on carverall.com) Gantry enclosed For beginners and children's craft projects who want to engrave small designs on wood, paper or leather and want to spend little. Wood Paper Cardboard Leather Cheapest Carverall device at €116.95 Very small and light: 155 x 166 x 143 mm, 0.56 kg Protective cover with viewing window, runs with CutLabX and LightBurn Only 3 W and 80 x 80 mm work area Very slow at 40 mm/s No information on laser class, cutting thicknesses and interfaces"},{"t":"Carverall K15 Pro","k":"Laser","d":"The K15 Pro is a compact diode laser with 7 or 12 W and a 300 x 200 mm work area, optionally with a safety enclosure. Accessories such as an air pump, camera and rotary attachment are offered separately.","u":"/en/laser/machines/carverall-k15-pro/","x":"Carverall Diode laser Blue diode laser 455 nm, air-cooled, 7 W or 12 W; optional 1 W infrared module listed as \"coming soon\" in the specification table Gantry open Beginners on a small budget who want to engrave wood, leather and paper. Wood Bamboo Leather Kraft paper Cardboard Fabric Slate Stone Rubber coated acrylic painted metal coated glass Very low entry price from €172.95 Work area 300 x 200 mm in a compact design LightBurn, Wi-Fi and app control are supported Air Assist, camera and enclosure only at extra cost No cutting capacity in millimetres specified Infrared module for bare metals not yet available"},{"t":"Carverall A1 Pro","k":"Laser","d":"The A1 Pro is a small enclosed diode laser with 7 or 12 W and an optional 1 W infrared module. The manufacturer's page contradicts itself on camera, weight and cutting power.","u":"/en/laser/machines/carverall-a1-pro/","x":"Carverall Diode laser Blue diode laser 455 nm with 7 W or 12 W; optionally an additional 1 W infrared laser 1064 nm (dual-laser variants) Gantry enclosed Beginners who want to engrave small workpieces such as pendants or signs and optionally mark metal. Wood Bamboo Leather Cardboard Kraft paper Fabric Slate Stone Rubber coated acrylic painted metal coated glass anodised aluminium Metals (only with IR module) black acrylic (with IR module only) Enclosed compact device from €207.95 Optional 1064 nm infrared laser for metal engraving Air pump, Wi-Fi and LightBurn support Very small work area of 110 x 110 mm Contradictory information on camera, weight and cutting thicknesses Infrared variants almost twice as expensive"},{"t":"Carverall X1 Pro","k":"Laser","d":"The X1 Pro is an open 20 W diode laser with a 300 x 300 mm work area and an included air pump. A protective cover is available as a variant, and there is no camera.","u":"/en/laser/machines/carverall-x1-pro/","x":"Carverall Diode laser Blue diode laser 455 nm, 20 W (20 to 22 W according to the description), air-cooled Gantry open Hobby users who also want to cut thin wood with an open 20 W diode laser. Wood Bamboo Leather Cardboard Kraft paper Fabric Slate Stone Rubber coated acrylic painted metal coated glass anodised aluminium 20 W diode power under €400 Air pump already included LightBurn, Wi-Fi and app control Protective cover costs €112.20 extra No camera Contradictory information on focal point and weight"},{"t":"Carverall Xmax","k":"Laser","d":"The Xmax is an enclosed diode laser with 20 or 40 W, camera, air pump and honeycomb bed. The manufacturer does not state many basic data such as weight, dimensions and cutting thicknesses.","u":"/en/laser/machines/carverall-xmax/","x":"Carverall Diode laser Diode laser module 20 W or 40 W; wavelength not specified by the manufacturer Gantry enclosed Users who want an enclosed diode laser with a camera for wood and acrylic. Wood Leather Acrylic Plastic painted metal Rubber Paper Cardboard Bamboo Enclosed housing with emergency stop, child lock and lid cut-off Camera, air pump and honeycomb panel included 40 W diode power for thicker materials No information on weight, dimensions and wavelength Strongly contradictory speed figures 20 W variant not available according to the shop"},{"t":"Carverall Z3","k":"Laser","d":"The Z3 is a portable, foldable 5 W diode laser with galvo deflection and an 80 x 80 mm work field. It is controlled via an app; many safety and interface details are missing.","u":"/en/laser/machines/carverall-z3/","x":"Carverall Diode laser Blue diode laser 455 nm, 5 W with beam compression Galvo open Mobile users who want to quickly engrave small items via app. Wood Bamboo Acrylic Leather Paper Fabric Felt Plastic anodised aluminium Glass Slate Stainless steel painted metal Ceramic Galvo diode laser at 800 mm/s, significantly faster than gantry machines Foldable and light (1.9 kg) Rotary roller available as a bundle Small work area of 80 x 80 mm No information on laser class, interfaces and cutting thicknesses No LightBurn support stated"},{"t":"Carverall Z15","k":"Laser","d":"The Z15 is a compact 5 W fibre laser with a 90 x 90 mm marking field and 10,000 mm/s. Information on laser class, protective enclosure and scope of delivery is missing.","u":"/en/laser/machines/carverall-z15/","x":"Carverall Fibre laser Infrared fibre laser 1064 nm, 5 W Galvo open Hobby users who want to label small metal parts such as key rings or tools. Stainless steel Aluminium alloy Titanium Copper Iron painted metal Plastic Acrylic Leather electronic components coated surfaces Marble glazed ceramic painted glass Fibre laser for metal marking under €1,000 Object height up to 172 mm with riser module LightBurn support Only 5 W and a 90 x 90 mm marking field No information on laser class, protection and scope of delivery USB only, no wireless connection"},{"t":"Carverall Z12","k":"Laser","d":"The Z12 is an open galvo fibre laser with 20 to 60 W, a standard field of 110 x 110 mm and an electric Z axis. The 60 W variant uses a JPT MOPA source for colour marking.","u":"/en/laser/machines/carverall-z12/","x":"Carverall Fibre laser Fibre laser 1064 nm, variants 20 W, 30 W, 50 W 3D and 60 W MOPA; source according to the table MAX (20/30/50 W) or JPT (60 W MOPA) Galvo open Small businesses and advanced hobbyists who want to engrave metal and cut it thinly. Stainless steel Aluminium Brass Copper Gold Silver Stone black acrylic Leather Plastic coated metals anodised aluminium Four power levels up to 60 W MOPA with colour marking Optional lenses for 150 x 150 and 200 x 200 mm Electric Z axis and LightBurn support Class 1 protective enclosure only as an accessory (€362.95) No information on weight, dimensions and scope of delivery Contradictory information on the laser source (JPT in the title, MAX in the table)"},{"t":"Carverall G2","k":"Laser","d":"The G2 is an enclosed 5 W UV laser at 355 nm with a motorised Z axis and a field of up to 150 x 150 mm. It is available as a flat and as a 3D variant.","u":"/en/laser/machines/carverall-g2/","x":"Carverall UV laser (355 nm) UV laser 355 nm, 5 W; flat engraving and 3D engraving variants (no power variants) Galvo enclosed Commercial users who want to mark glass, crystal and plastics finely or engrave them internally. Wood Acrylic Leather Plastics Metals Glass Ceramic UV laser 355 nm for glass, plastic and sensitive materials Enclosed housing with motorised Z axis and dual red-light focusing 3D variant for internal engraving available High price from €3,005.95 No information on weight and dimensions Contradictory information on speed and software"},{"t":"Carverall G6","k":"Laser","d":"The G6 is a 5 W UV galvo laser with a 150 x 150 mm field lens, 350 mm Z height and manual focusing. It weighs 15.6 kg and runs over USB with BsApp Simple.","u":"/en/laser/machines/carverall-g6/","x":"Carverall UV laser (355 nm) UV laser 355 nm, 5 W, power adjustable from 10 to 100%, frequency 10 to 150 kHz Galvo open Commercial users who want to mark glass, crystal, metal and stamps finely. Glass Crystal Acrylic Wood Metal Leather Plastic Rubber Silicone Ceramic Fabric Paper UV laser with a very fine laser spot for glass and crystal High Z height up to 350 mm Colour engraving and rotary attachment supported No information on laser class and protective enclosure Manual focusing only Contradictions regarding warranty and lens equipment"},{"t":"Carverall C1","k":"Laser","d":"The C1 is an enclosed 45 W CO₂ laser with a 640 x 350 mm work area, with camera and water cooling included. The manufacturer does not state weight, dimensions or connection options.","u":"/en/laser/machines/carverall-c1/","x":"Carverall CO₂ laser CO₂ laser tube 45 W (replaceable wear part); wavelength not specified by the manufacturer Gantry enclosed Users who regularly cut wood and acrylic and need a large work area. Wood MDF Plywood Acrylic Leather Fabric Paper Cardboard Cork Rubber Glass Large work area 640 x 350 mm Camera, water cooler, air pump and honeycomb panel included Cuts up to 15 mm wood and 10 mm acrylic according to the manufacturer No details on weight, dimensions, laser class and interfaces Contradictory speed figures in DE and EN Laser tube is a wear part with no stated lifetime"},{"t":"Anycubic Photon Mono 4","k":"Resin printers","d":"Compact 7-inch entry-level printer with 10K display and simple equipment. Files come via USB, heating and automation are missing.","u":"/en/3d-printing/resin-printers/anycubic-photon-mono-4/","x":"Anycubic Resin MSLA 7-inch mono LCD, 10K Beginners who print miniatures and small parts and want to spend little low entry price compact and light at 4 kg fine XY resolution of 17 x 17 µm small build volume (2.2 l) no vat heating, no Wi-Fi manual levelling and only one linear rail"},{"t":"Phrozen Sonic Mini 8K S","k":"Resin printers","d":"Compact 7.1-inch printer with 8K display and basic equipment. Data transfer by USB only.","u":"/en/3d-printing/resin-printers/phrozen-sonic-mini-8k-s/","x":"Phrozen Resin MSLA 7.1-inch mono LCD, 8K Hobby users who print small, highly detailed parts and work with external slicers fine pixel size of 22 µm wide layer thickness range 0.01 to 0.3 mm free choice of slicer small build volume USB only, no Wi-Fi no information on heating or automatic levelling"},{"t":"Creality HALOT-MAGE S 14K","k":"Resin printers","d":"10.1-inch printer with a 14K display, dual linear rails and a built-in air purifier. Camera and resin pump are available as accessories.","u":"/en/3d-printing/resin-printers/creality-halot-mage-s-14k/","x":"Creality Resin MSLA 10.1-inch mono LCD, 14K (13320 x 5120) Hobby users who want to print larger models and need a network connection large build volume at a moderate price Wi-Fi and Ethernet Air purifier integrated no vat heating specified Camera only as an accessory manual levelling"},{"t":"Elegoo Saturn 4 Ultra 16K","k":"Resin printers","d":"10-inch printer with 16K display, vat heater, automatic levelling and AI camera. Medium-sized build volume.","u":"/en/3d-printing/resin-printers/elegoo-saturn-4-ultra-16k/","x":"Elegoo Resin MSLA 10-inch mono LCD, 16K (15120 x 6230) Hobbyists and miniature printers who want high resolution and convenience features 16K resolution with 14 x 19 µm Vat heating and automatic levelling Camera with error detection medium build volume Air purifier not integrated, only Elegoo Mars Mate compatible as an accessory Z axis construction not specified"},{"t":"Anycubic Photon Mono M7 Pro","k":"Resin printers","d":"10.1-inch printer with 14K display, heated vat and automatic resin refilling. Well equipped for its price range.","u":"/en/3d-printing/resin-printers/anycubic-photon-mono-m7-pro/","x":"Anycubic Resin MSLA 10.1-inch mono LCD, 14K (13320 x 5120) Hobbyists and small businesses that print a lot and want to automate resin handling Vat heating up to 40 °C automatic refilling Wi-Fi, LAN and app no resuming after a power cut no camera specified medium build volume"},{"t":"Anycubic Photon P1","k":"Resin printers","d":"10.1-inch printer with 14K display, ball screw drive, vat heating and automatic levelling. Optional AI detection.","u":"/en/3d-printing/resin-printers/anycubic-photon-p1/","x":"Anycubic Resin MSLA 10.1-inch mono LCD, 14K Users looking for robust mechanics and automation in the mid-range Ball screw and double rails Vat heating and automatic levelling Resumes after a power cut no automatic refilling Speed figure only for 0.05 mm layer, hard to compare Material list for Anycubic resins only"},{"t":"Anycubic Photon P1 Max","k":"Resin printers","d":"14-inch printer with a 12K display and 18.3 l build volume, ball screw, vat heating and automatic levelling. Larger version of the Photon P1.","u":"/en/3d-printing/resin-printers/anycubic-photon-p1-max/","x":"Anycubic Resin MSLA 14-inch mono LCD, 12K (11520 x 8640) Users who print large models or many parts in one job and want the P1's features in a larger format 18.3 l build volume with 300 mm build height Ball screw and double rails Vat heating, automatic levelling and resume after a power cut XY resolution 24.8 µm, coarser than the smaller P1 Speed figure only for 0.05 mm layer, hard to compare no automatic refilling Weighs 23.1 kg"},{"t":"Anycubic Photon Mono M7 Max","k":"Resin printers","d":"Large-format printer with a 13.6-inch display and 14.7 l build volume. The pixel size is rather coarse for miniatures.","u":"/en/3d-printing/resin-printers/anycubic-photon-mono-m7-max/","x":"Anycubic Resin MSLA 13.6-inch mono LCD, 7K Users who need large parts or many parts per print and place little value on the finest detail large build volume (14.7 l) Vat heating inexpensive for the build volume coarse XY resolution of 46 µm manual levelling heavy (24 kg) and large"},{"t":"Elegoo Jupiter 2","k":"Resin printers","d":"Large-format printer with 14-inch 16K display, vat heater, automatic resin handling and camera.","u":"/en/3d-printing/resin-printers/elegoo-jupiter-2/","x":"Elegoo Resin MSLA 14-inch mono LCD, 16K (15120 x 6230), tool-free exchange Small businesses and ambitious hobby users who print large parts at high resolution large build volume with 16K resolution automatic refilling and force-sensor levelling Camera and resume after power failure heavy (28.9 kg) and large Air purifier not integrated, only Elegoo Mars Mate compatible as an accessory Slicer compatibility stated only for Elegoo software"},{"t":"Phrozen Sonic Mighty 16K","k":"Resin printers","d":"10.1-inch printer with 16K display, chamber heating, air purifier and fault detection.","u":"/en/3d-printing/resin-printers/phrozen-sonic-mighty-16k/","x":"Phrozen Resin MSLA 10.1-inch mono LCD, 16K (15120 x 6230) Users who want to print fine details with a heated chamber and network connection 16K resolution with 14 x 19 µm Chamber heating and air purifier Ball screw and double rails more expensive than comparable 10-inch devices Speed only given in layers per hour Weight figures contradictory"},{"t":"Phrozen Sonic Mighty Revo 16K MAX","k":"Resin printers","d":"14-inch large-format printer with a 16K display, camera and chamber heating, optionally with a heated vat.","u":"/en/3d-printing/resin-printers/phrozen-sonic-mighty-revo-16k-max/","x":"Phrozen Resin MSLA 14-inch mono LCD, 16K Small business that prints large parts or technical, viscous resins large build volume with 16K resolution Camera and chamber heating processes viscous resins heated vat only optional heavy (29 kg) and large no speed or slicer information"},{"t":"Formlabs Form 4","k":"Resin printers","d":"Professional MSLA printer with Low Force Display, cartridge system, resin heating and extensive sensors. Focus on reliability and choice of materials.","u":"/en/3d-printing/resin-printers/formlabs-form-4/","x":"Formlabs Resin MSLA Low Force Display (MSLA), 50 µm pixels Businesses and professionals who need reliable, repeatable results with technical materials extensive sensors and camera large, tested range of materials automatic resin handling via cartridges high purchase price coarser XY pixels (50 µm) than 16K hobby machines Cartridge system tends to tie you to the manufacturer's material"},{"t":"Formlabs Form 4L","k":"Resin printers","d":"Large-format version of the Form 4 with a 35.3 x 19.6 x 35 cm build volume and two cartridges.","u":"/en/3d-printing/resin-printers/formlabs-form-4l/","x":"Formlabs Resin MSLA Low Force Display (MSLA), 46 µm pixel Businesses that print large parts or large batches in one run very large build volume (24.2 l) Sensors and camera as on the Form 4 two cartridges for long prints very high price 58.5 kg and large footprint Reliability figure still under review according to the manufacturer"},{"t":"xTool WonderPress","k":"Heat press","d":"Automatic heat press with a 380 x 380 mm pressing area and up to 100 kg of pressure. With swap-in modules it can be expanded into a vacuum former, 3D sublimation machine and oven for curing DTF.","u":"/en/makerspace/devices/xtool-wonderpress/","x":"xTool Heat press For makers who want to cover textile press, 3D sublimation and vacuum forming with one base unit. Cotton Polyester Blended fabric Canvas Felt sublimation-coated acrylic, wood, metal and ceramic Flex film (HTV) DTF transfers PETG, HIPS, TPU and EVA films (vacuum forming) 3D sublimation film Large pressing area 380 x 380 mm with automatic contact pressure up to 100 kg Swappable modules for vacuum forming, 3D sublimation and DTF curing in one base unit High material height up to 75 mm, also for thicker hard materials Heavy (22 kg press module) and large footprint Modules cost a significant extra, all-in-one bundle €879.01 instead of €399 for the press alone (as of 12.10.2026) New device (launched in 2026), little long-term experience so far"},{"t":"Cricut AutoPress 2","k":"Heat press","d":"Automatic flatbed heat press with 38.1 x 38.1 cm platen, up to 210 °C and 20 to 100 kg pressure. Successor to the first Cricut AutoPress, with a pull-out tray.","u":"/en/makerspace/devices/cricut-autopress-2/","x":"Cricut Heat press For small runs of textiles with flex film, DTF or sublimation where even pressure without effort matters. Flex film (iron-on), also puff iron-on DTF transfers Infusible Ink Sublimation products Cotton Polyester Large pressing area with automatic pressure up to 100 kg Pull-out tray makes loading easier Presets for common Cricut materials Max. material height only 4.5 cm Large footprint, about 92.7 cm deep with the drawer pulled out Power consumption and timer range not officially specified"},{"t":"Cricut EasyPress SE 12 x 10","k":"Heat press","d":"Manual clamshell heat press with a 30 x 25 cm ceramic plate up to 205 °C. A simpler variant without Bluetooth that replaces the EasyPress 3 in the German Cricut shop.","u":"/en/makerspace/devices/cricut-easypress-se-12x10/","x":"Cricut Heat press For beginners who occasionally decorate textiles with flex film or Infusible Ink. Flex film (iron-on) Infusible Ink Sublimation products Affordable entry without app activation Compact and light, good for fabrics on an ironing board or press pad Ceramic-coated plate up to 205 °C Contact pressure depends on the user, no pressure setting No manufacturer information on device dimensions Pressing area of 30 x 25 cm too small for large motifs"},{"t":"Cricut Mug Press","k":"Heat press","d":"Automatic mug press for straight mugs of 350 to 470 ml. The pressure is fixed, the temperature can only be adjusted in three steps via a hidden mode. Operation is limited to a single button.","u":"/en/makerspace/devices/cricut-mug-press/","x":"Cricut Heat press For beginners who want to design mugs with Infusible Ink or sublimation without setting parameters. Infusible Ink compatible mugs polymer-coated sublimation mugs with straight shape Infusible Ink transfer sheets and pens Very simple operation, pressure and temperature automatic Even heating through zoned heating plate Low price for a specialist press Straight mugs only, 82 to 86 mm in diameter Activation via a computer with internet required No manufacturer information on temperature in °C, weight and dimensions"},{"t":"HTVRONT Auto Heat Press 2","k":"Heat press","d":"Automatic heat press with a 38 x 38 cm platen, 20 to 80 kg pressure and a pull-out tray. Available in HTVRONT's EU shop.","u":"/en/makerspace/devices/htvront-auto-heat-press-2/","x":"HTVRONT Heat press For small textile runs with HTV, DTF or sublimation on a limited budget. Cotton Polyester Polycotton blend fabric Modal Flex film (HTV) printable flex film Transfer paper Sublimation materials DTF transfers Automatic pressing with pull-out tray in the 38 x 38 class Cheaper than comparable automatic presses from the big brands Auto-release and shut-off after 15 minutes Max. pressure 80 kg, less than xTool and Cricut (100 kg) Max. material height 4.5 cm Temperature, power and dimensions not given as text on the shop page"},{"t":"Epson SureColor SC-F100","k":"Sublimation printer","d":"Factory-made Epson A4 sublimation printer with ink tank (140 ml bottles) and 600 x 1,200 dpi. Listed as not in stock on epson.de, available through retailers.","u":"/en/makerspace/devices/epson-surecolor-sc-f100/","x":"Epson Sublimation printer For beginners and small businesses who print A4 sublimation transfers under Windows. Sublimation paper for transfer onto polyester textiles polymer-coated promotional items (e.g. mugs, coasters) Built for sublimation from the factory, with 140 ml ink bottles Many ports including Ethernet and Wi-Fi Compact and light at 4.6 kg A4 only Driver for Windows only according to the product page, no macOS mentioned Not in stock at Epson DE and without a price"},{"t":"Sawgrass SG500","k":"Sublimation printer","d":"A4 sublimation printer from Sawgrass with SubliJet UHD or VersiFlex ink. Technically identical to the SG1000, only a smaller paper size.","u":"/en/makerspace/devices/sawgrass-sg500/","x":"Sawgrass Sublimation printer For small businesses that want A4 sublimation with manufacturer-side colour management on Windows or Mac. Polyester textiles coated mugs and cups coated hard goods (sublimation blanks) Cotton and natural fibres (only with VersiFlex ink) Built for sublimation from the factory, own ink systems Driver for Windows and Mac Optional bypass slot for extra-long material Cartridge system with 31 ml, ink cost per ml higher than with tank systems Only through retailers, no EUR prices from the manufacturer Weight not officially stated"},{"t":"Sawgrass SG1000","k":"Sublimation printer","d":"A3 version of the Sawgrass desktop sublimation printer with the same components as the SG500. With the bypass tray, formats up to A3+ are possible.","u":"/en/makerspace/devices/sawgrass-sg1000/","x":"Sawgrass Sublimation printer For businesses that print larger sublimation designs up to A3+, for example for shirts or cushions. Polyester textiles coated mugs and cups coated hard goods (sublimation blanks) Cotton and natural fibres (only with VersiFlex ink) A3 in the main tray, A3+ with bypass tray Same technology and inks as SG500 Driver for Windows and Mac Cartridge system with 31 ml, ink cost per ml higher than with tank systems Only through retailers, no EUR prices from the manufacturer Weight not officially stated"},{"t":"Brother SP1","k":"Sublimation printer","d":"Desktop sublimation printer from Brother's hobby and sewing division with four-colour cartridges. Designs up to 215 x 355 mm, transfer with a separate heat press.","u":"/en/makerspace/devices/brother-sp1/","x":"Brother Sublimation printer For hobby users in the Brother ecosystem (ScanNCut, Artspira) who print sublimation transfers up to Legal size. Sublimation paper for transfer onto polyester textiles coated household goods and gift items (transfer with heat press) Built for sublimation at the factory, ink and paper included Drivers for Windows and macOS Same warranty as other Brother hobby machines (2 years for private use) No price and no ink quantity stated on the German Brother page Max. width approx. 215 mm, no A3 Much data only on the Canadian Brother site"},{"t":"Cricut Maker 5","k":"Cutting plotters","d":"The current top model of Cricut's 30 cm class with 13 compatible tools and material thickness up to 3 mm. Controlled exclusively via the Design Space app.","u":"/en/makerspace/devices/cricut-maker-5/","x":"Cricut Cutting plotters For hobbyists and small businesses who also want to cut fabric, leather and thin wood in addition to paper and vinyl. Paper and cardboard Vinyl Iron-on film Fabric Leather Wood up to 3 mm over 300 materials according to the manufacturer Widest tool range in the Cricut line (13 tools, rotary blade and Knife Blade) Cuts and engraves material up to 3 mm Matless cutting of Smart Materials up to 3.6 m Cutting force not specified by the manufacturer Design Space requires an account and an internet connection Many tools cost around €32 to €56 extra each"},{"t":"Cricut Explore 5","k":"Cutting plotters","d":"Mid-range Cricut model with 30.5 cm cutting width and six compatible tools. The Maker 5 is intended for fabric and thicker materials.","u":"/en/makerspace/devices/cricut-explore-5/","x":"Cricut Cutting plotters For beginners who mainly cut paper, card, vinyl and iron-on film in 30 cm width. Paper and cardboard Vinyl Iron-on film Foam and rubber with deep-cut tool over 100 materials according to the manufacturer Same cutting width and mat length as the Maker 5 at a lower price Matless cutting of Smart Materials up to 3.6 m Pens and scoring tool included in the box Only 6 tools, no rotary blade or Knife Blade Max. material thickness not quantified by the manufacturer Cutting force not specified by the manufacturer"},{"t":"Cricut Joy Xtra","k":"Cutting plotters","d":"Compact cutting plotter with 21.6 cm cutting width and print-then-cut function. Not designed for larger or thicker materials.","u":"/en/makerspace/devices/cricut-joy-xtra/","x":"Cricut Cutting plotters For small projects such as cards, stickers and decals in limited space. Paper and cardboard Vinyl Iron-on film Sticker and print sheet for Print then Cut over 50 materials according to the product page Compact and light (2.7 kg) Print then cut up to roughly A4 width Cheapest entry with over 20 cm cutting width Only 3 tools, no thick materials No USB port, Bluetooth only Matless only up to 1.2 m length"},{"t":"Silhouette Cameo 5α","k":"Cutting plotters","d":"30 cm cutting plotter with two tool holders and material up to 3 mm thick. Material with a carrier sheet runs without a mat up to 4.87 m.","u":"/en/makerspace/devices/silhouette-cameo-5-alpha/","x":"Silhouette Cutting plotters For plotter users who want long vinyl and film cuts without a mat and desktop software without cloud requirement. Paper and cardboard Vinyl Transfer film (heat transfer) Fabric Specialist media Up to 4.87 m cutting length without a mat for material with carrier film Two tool holders for cutting and drawing in one pass USB and Bluetooth, software can also be used offline on the desktop No official EU manufacturer's shop, price in Germany depends on the retailer Cutting force not stated Electrostatic mat only at extra cost"},{"t":"Brother ScanNCut SDX2250D","k":"Cutting plotters","d":"Cutting plotter with integrated scanner and touchscreen that works without a PC. The focus is on fabrics, appliqués and quilt blocks.","u":"/en/makerspace/devices/brother-scanncut-sdx2250d/","x":"Brother Cutting plotters For sewists and quilters who want to cut fabrics and appliqués and scan designs directly. Paper and cardboard Vinyl Fabric and thin fabrics Felt Foam up to 3 mm Built-in 600 dpi scanner for scanning designs Works independently via touchscreen without a computer Rotary blade for fabrics included in the box No official manufacturer's shop price in Germany Cutting only with mat, roll feeder optional Heavier than comparable 30 cm plotters (6 kg)"},{"t":"xTool Apparel Printer Plus","k":"DTF printer","d":"Roll-fed DTF printer with two Epson I1600 heads and integrated humidifier. Powder application and curing are handled only by the optional OS1 shaker oven.","u":"/en/makerspace/devices/xtool-apparel-printer-plus/","x":"xTool DTF printer For small businesses that regularly print DTF transfers and want a closed workflow without RIP setup. Textiles (transfer with heat press, 160 °C, 6 s) Roll-fed operation with integrated RIP, no separate RIP licence Integrated humidifier and wet capping against dried-out white ink Separate print heads for colour and white Shaker oven not in the standalone package, much more expensive as a bundle No third-party RIPs and no ICC colour management Dimensions, weight and fume extraction details are missing on the Plus page"},{"t":"Procolored K13 Lite","k":"DTF printer","d":"A3 DTF roll printer with CMYK + white and LH-500 print head. Powder application and curing are done separately or with the bundle oven.","u":"/en/makerspace/devices/procolored-k13-lite/","x":"Procolored DTF printer For beginners in small DTF businesses who want A3 roll printing and handle powder and curing separately. Textiles (DTF transfer) A3 roll printing with 330 mm width White ink circulation and automatic cleaning Software at no extra cost Shop prices are net, VAT and import tax are added No built-in shaker, oven only as a bundle Software for Windows only"},{"t":"Procolored F8 Panda","k":"DTF printer","d":"Compact A4 DTF roll printer with an L800 print head and included RIP. Powder and curing are separate from the printer.","u":"/en/makerspace/devices/procolored-f8-panda/","x":"Procolored DTF printer For getting started with DTF with small designs up to A4 width in a limited space. Textiles (DTF transfer) Compact A4 device weighing 10 kg RIP software and film roll included Roll feed with integrated cutter Shop prices are net, VAT and import tax are added Only 210 mm print width No shaker, oven only as a bundle, software Windows only"},{"t":"3DMakerpro Fox","k":"3D scanner","d":"The Fox is the cheapest scanner from 3DMakerpro and works with near infrared and markerless AI tracking for objects from 40 to 1,200 mm. It delivers mono textures only and needs a PC with JMStudio for processing.","u":"/en/3d-printing/3d-scanners/3dmakerpro-fox/","x":"3DMakerpro 3D scanner scan Near-infrared (NIR) with AI-assisted markerless tracking (AI SLAM) Beginners on a small budget who want to scan medium-sized objects such as components, shoes or body parts without colour Low price in the entry-level range Large object range from 40 to 1,200 mm Markerless tracking; according to the manufacturer, NIR means less scanning spray is needed No colour capture, mono texture only Lower accuracy (0.07 mm) than blue-light scanners such as the Seal Processing on PC only; smartphone use only with separate Smart Grip"},{"t":"Creality CR-Scan Ferret SE","k":"3D scanner","d":"Lightweight entry-level scanner with up to 0.1 mm accuracy and colour capture for Windows and macOS. Heavily discounted in the EU shop; Creality does not publish many detailed specifications.","u":"/en/3d-printing/3d-scanners/creality-cr-scan-ferret-se/","x":"Creality 3D scanner scan not specified by the manufacturer Beginners on a small budget who want to make coarser scans of people and medium-sized objects on a PC Affordable entry into 3D scanning Very light at 105 g Colour scan with 24-bit colour depth Accuracy up to 0.1 mm, much coarser than laser scanners such as Raptor (0.02 mm) or Pika (0.03 mm) No display and no battery, operation only on a computer No longer in the product overview on creality.com, sold out in the AU shop with a reference to the Ferret Pro"},{"t":"3DMakerpro Seal","k":"3D scanner","d":"The Seal is a compact blue-light scanner for small objects from 10 to 300 mm with a manufacturer-stated accuracy of up to 0.01 mm. It works with a PC over USB 2.0 or with a separate Smart Grip on a smartphone and captures colour textures.","u":"/en/3d-printing/3d-scanners/3dmakerpro-seal/","x":"3DMakerpro 3D scanner scan Blue-light structured light Makers who want to digitise small, highly detailed parts such as jewellery, miniatures or spare parts precisely High accuracy up to 0.01 mm at 0.05 mm resolution Colour scan with 24-bit texture Aluminium housing and mobile scanning by smartphone with Smart Grip possible Small single-capture area (100 x 75 mm) and objects only up to approx. 300 mm Scanning spray recommended for transparent, reflective or hairy surfaces Smart Grip for smartphone operation costs extra (€269 in the EU shop)"},{"t":"Creality Otter Lite","k":"3D scanner","d":"Infrared scanner with four lenses, up to 0.05 mm accuracy and working distance up to 1,200 mm. Available in the EU shop as a wired Basic variant for €489 and as a wireless variant for €819.","u":"/en/3d-printing/3d-scanners/creality-otter-lite/","x":"Creality 3D scanner scan Near-infrared binocular structured light with four-lens stereo vision Makers who want to scan a wide range from small figures to people and car parts and optionally work wirelessly Accuracy up to 0.05 mm with a large working range of 120 to 1,200 mm Wireless with Wi-Fi 6 to PC or smartphone (with Lite Bridge) According to the manufacturer, outdoor use up to 30,000 lux and black objects without spray No laser: accuracy of 0.05 mm is below laser scanners such as the Raptor (0.02 mm) Cheap Basic version wired only, wireless from €819 For wireless operation an additional Lite Bridge weighing 306 g is required"},{"t":"Revopoint INSPIRE 2","k":"3D scanner","d":"The INSPIRE 2 combines infrared structured light with an 11-line infrared laser and reaches up to 0.05 mm accuracy according to the manufacturer. It works via USB-C, Wi-Fi or with a smartphone, but laser mode requires a PC.","u":"/en/3d-printing/3d-scanners/revopoint-inspire-2/","x":"Revopoint 3D scanner scan Infrared structured light (dual camera) + infrared multi-line laser (11 parallel lines), laser class 1 Beginners and hobby makers who want to scan small to medium-sized objects for 3D printing at low cost Two scanning methods (infrared structured light and infrared laser) in the lower price range Wireless via Wi-Fi and usable with a smartphone, colour capture Lightweight (190 g), outdoor filter included in the box Laser mode needs markers and, for full speed, a PC with an NVIDIA GPU Spray needed on transparent or reflective surfaces Coarser point distance (0.1 mm) than Revopoint's laser scanners"},{"t":"Creality PIKA","k":"3D scanner","d":"Pocket-size scanner at 260 g, 7-line blue laser (up to 0.03 mm) and NIR mode, display and battery. Capture works without a PC, further processing is done via app or PC software.","u":"/en/3d-printing/3d-scanners/creality-pika/","x":"Creality 3D scanner scan Blue parallel laser light (7 lines) + near-infrared structured light (NIR) Makers looking for a compact scanner with laser and infrared mode who also want to scan on the go without a laptop Two light sources: blue laser up to 0.03 mm for detail, NIR for people and large objects Own display, swappable battery (up to 70 minutes) and Wi-Fi 6, can be operated with a smartphone According to the manufacturer, black and metallic surfaces can be scanned without spray, laser up to 110,000 lux ambient light Markerless scanning in laser mode only wired to a PC No processing on the device: fusion and meshing need a smartphone or PC High minimum requirements for smartphone (Snapdragon 8 Gen 2 or A15) and PC (GPU with 8 GB VRAM)"},{"t":"Revopoint POP 4","k":"3D scanner","d":"The POP 4 combines a blue multi-line laser, infrared full-field and VCSEL structured light and reaches accuracy up to 0.03 mm according to the manufacturer. It is designed for small to medium objects and works via USB-C, Wi-Fi or, in part, with a smartphone.","u":"/en/3d-printing/3d-scanners/revopoint-pop-4/","x":"Revopoint 3D scanner scan Blue multi-line laser (30 cross lines, 1 line for deep holes) + near-infrared full-field structured light + infrared VCSEL structured light Makers who want a versatile device for components, people and outdoor shots and have a powerful PC Three light sources in one device: laser for detail, infrared for people and larger objects According to the manufacturer, scanning up to 50,000 lux, up to 100,000 lux with outdoor filter Wireless via Wi-Fi, colour capture, battery grip in the Premium Edition Laser mode only with a PC; full 105 fps only with an NVIDIA GPU Spray needed on transparent or reflective surfaces High minimum PC requirements (RTX 3060, 16 GB RAM)"},{"t":"Revopoint MetroX Pro","k":"3D scanner","d":"The MetroX Pro is a wired blue-light laser scanner with full-field structured light and, according to the manufacturer, accuracy up to 0.02 mm. Compared with the MetroX it has more laser lines, faster laser capture and better volumetric accuracy.","u":"/en/3d-printing/3d-scanners/revopoint-metrox-pro/","x":"Revopoint 3D scanner scan Blue multi-line laser (30 cross lines, 15 parallel lines) + blue full-field structured light (62 lines) Makers and engineers who want to capture mechanical parts as accurately as possible for reverse engineering Accuracy up to 0.02 mm, volumetric 0.02 mm + 0.04 mm x L (m) Two-axis turntable included for automatic scanning Shiny and dark surfaces can usually be scanned in laser mode without spray No battery and no Wi-Fi scanning: cable and power adapter required; not for outdoor use Not recommended for people or animals according to the manufacturer; max. scan volume 1 m High PC requirements (from 32 GB RAM on Windows, NVIDIA GPU)"},{"t":"Creality CR-Scan Raptor","k":"3D scanner","d":"Hybrid scanner with 7-line blue laser (up to 0.02 mm) and NIR mode for larger objects. Still sold in the EU shop alongside the Raptor Pro, currently for €1,199.","u":"/en/3d-printing/3d-scanners/creality-cr-scan-raptor/","x":"Creality 3D scanner scan Blue laser light (7 parallel lines) + near-infrared structured light (NIR) Makers who need precise laser scans of small technical parts and work with markers on a PC Blue laser with up to 0.02 mm accuracy Two modes: laser for small details from 5 mm, NIR for objects up to 2 m €400 cheaper than the successor Raptor Pro in the EU shop In laser mode only marker tracking, so markers are required At 372 g heavier than the PIKA or Otter Lite and dependent on a 12 V power supply No longer in the product overview on creality.com, successor Raptor Pro"},{"t":"Einstar 2","k":"3D scanner","d":"The Einstar 2 combines a blue laser mode with 17 lines for detail with an infrared VCSEL mode for large objects up to approx. 10 m. It works wirelessly over Wi-Fi with a battery, but needs a PC with 32 GB DDR5 and RTX 3060 graphics for processing.","u":"/en/3d-printing/3d-scanners/einstar-2/","x":"Einstar 3D scanner scan Two modes: Laser HD with 17 parallel blue laser lines and IR Rapid with infrared VCSEL Makers who want to scan small parts with the laser and large objects or people with infrared using one wireless device and who have a powerful PC Laser and infrared in one device: working distance from 100 mm to 1,400 mm Wireless via Wi-Fi with swappable battery (up to 3 hours) According to the manufacturer, black and glossy surfaces without scanning spray High PC requirements: at least 32 GB DDR5 and RTX 3060 laptop GPU with 6 GB VRAM No accuracy figure on the product page Laser mode only with markers (global markers)"},{"t":"Revopoint MIRACO Plus","k":"3D scanner","d":"The MIRACO Plus is a standalone infrared scanner with built-in computer, touchscreen and battery and, according to the manufacturer, accuracy up to 0.04 mm. With the included photogrammetry kit it also captures large objects up to 4 m.","u":"/en/3d-printing/3d-scanners/revopoint-miraco-plus/","x":"Revopoint 3D scanner scan Infrared structured light with four cameras and 2x optical zoom + photogrammetry measurement, laser class 1 Users who want to scan on the move without a PC and also capture large objects such as vehicle parts Fully standalone: computer, 32 GB RAM, 256 GB storage, battery and touchscreen in the device Large work area from 100 to 1,000 mm, objects up to 4 m Photogrammetry kit for more accurate measurement of large objects included High price and heavy for a hand-held scanner at 750 g Battery lasts only up to 2 hours of continuous use according to the manufacturer Spray needed for transparent, dark or highly reflective objects; featureless objects need markers"},{"t":"Einstar VEGA","k":"3D scanner","d":"The Einstar VEGA is a standalone infrared handheld scanner with display, its own processing power and storage that scans without a PC. Two modes cover fine details from 100 mm distance and large objects up to 1,500 mm distance; the manufacturer does not state an accuracy.","u":"/en/3d-printing/3d-scanners/einstar-vega/","x":"Einstar 3D scanner scan Infrared structured light with two modes: HD mode with MEMS projector, Fast mode with VCSEL projector Users who want to scan on the move without a laptop, for example people, furniture or vehicle parts on site, and have a higher budget for it Scanning without a PC: own 6.4-inch touchscreen, 8-core processor, 32 GB RAM and 512 GB SSD Colour camera with 48 MP Four tracking types (features, texture, markers, hybrid) At €2,399 considerably more expensive than PC-tethered entry-level scanners Battery life only 1.5 to 2 hours according to the manufacturer No accuracy figure on the product page"},{"t":"Creality CR-Scan Otter","k":"3D scanner","d":"The CR-Scan Otter is Creality's infrared scanner with four lenses, up to 0.02 mm accuracy at close range and a working distance of 110 to 1,000 mm. It costs €969 in the EU shop, and wireless scanning requires the separately available Scan Bridge.","u":"/en/3d-printing/3d-scanners/creality-cr-scan-otter/","x":"Creality 3D scanner scan Near-infrared binocular structured light with four-lens stereo vision (near and far mode) Makers who want to scan everything from small figures to large objects on a PC with an infrared scanner Up to 0.02 mm accuracy at close range without laser Large working range of 110 to 1,000 mm with near and far mode Minimum scan volume 10 x 10 x 10 mm, so small parts too No laser: at a disadvantage on dark and shiny surfaces compared with laser scanners Wireless only with Scan Bridge (in the bundle €1,199, was €969) Hardly any official details (tracking, system requirements, scope of delivery) available, frame rate stated inconsistently"},{"t":"Creality CR-Scan Ferret Pro","k":"3D scanner","d":"The Ferret Pro is a lightweight entry-level scanner with 0.1 mm accuracy, colour capture and Wi-Fi 6. It suits objects from about 15 cm and costs €389 in the EU shop.","u":"/en/3d-printing/3d-scanners/creality-cr-scan-ferret-pro/","x":"Creality 3D scanner scan Infrared binocular stereo with near-infrared light source (NIR) class 1 (laut Creality-Handbuch via 123-3D) Beginners who want to scan people and medium-sized objects in colour on a budget, also wirelessly with a smartphone Cheap at €389 in the EU shop Wireless via Wi-Fi 6, can also be used with a smartphone Very light at 105 g, colour scan with 24-bit Accuracy of only 0.1 mm, too coarse for small technical parts Minimum object size approx. 15 cm according to the manufacturer Hardly any official technical data available, tests criticise the software (igor'sLAB)"},{"t":"Creality CR-Scan Raptor Pro","k":"3D scanner","d":"The Raptor Pro adds 22 cross laser lines to the Raptor and reaches accuracy up to 0.02 mm at up to 60 fps. In the EU shop it costs €1,599 instead of €1,999, with delivery in batches from the end of October 2026.","u":"/en/3d-printing/3d-scanners/creality-cr-scan-raptor-pro/","x":"Creality 3D scanner scan Blue laser (22 cross lines and 7 parallel lines) + near-infrared structured light (NIR) Makers who want to capture precise laser scans of technical parts and also larger objects via infrared on a PC Accuracy up to 0.02 mm, volumetric 0.02 mm + 0.08 mm/m Three modes: parallel laser, cross laser and NIR for objects from millimetres to metres Up to 60 fps and 660,000 points/s in laser mode Wireless only with separate Scan Bridge (bundle €1,899) Many detailed values only via retailers, not officially available In the EU shop, shipping only in batches from the end of October 2026"},{"t":"Revopoint MetroX","k":"3D scanner","d":"The MetroX is the wired base model of the Metro series with 14 cross laser lines, full-field blue light and accuracy up to 0.02 mm. It is still available in the official shop and costs €783 in the Standard Edition, only slightly less than the MetroX Pro and MetroY.","u":"/en/3d-printing/3d-scanners/revopoint-metrox/","x":"Revopoint 3D scanner scan Blue multi-line laser (14 cross lines, 7 parallel lines) + blue full-field structured light (62 lines) Makers who want an affordable entry into precise blue-light laser scanning of small to medium parts on a PC Accuracy up to 0.02 mm at the lowest price in the Metro series (€783) Two-axis turntable already in the Standard Edition Laser and full-field structured light in one device No battery and no Wi-Fi: cable and power supply needed, not for outdoor use Fewer laser lines and only 800,000 points/s compared with MetroX Pro and MetroY High PC requirements (on Windows from 32 GB RAM and NVIDIA GPU)"},{"t":"Revopoint MetroY","k":"3D scanner","d":"The MetroY is a wirelessly usable blue laser scanner with 30 cross lines and up to 0.02 mm accuracy for small to medium-sized parts. It works only with markers and without colour, and costs €875 in the official shop.","u":"/en/3d-printing/3d-scanners/revopoint-metroy/","x":"Revopoint 3D scanner scan Blue multi-line laser (30 cross lines, 15 parallel lines, 1 single line), no full-field structured light Makers who want to capture precise laser scans of mechanical parts wirelessly with markers and can do without colour and a turntable Up to 0.02 mm accuracy, volumetric 0.02 mm + 0.04 mm x L (m) Wireless via Wi-Fi 6 Single line for deep holes and parallel lines for detail Marker tracking only, no geometry tracking and no colour No built-in battery, power supply or power bank required No turntable and no tripod included (only with the MetroY Pro)"},{"t":"Revopoint MetroY Pro","k":"3D scanner","d":"The MetroY Pro extends the MetroY with four cross lines, full-field blue light, geometry tracking and a larger scope of delivery with turntable and Mobile Kit. In the official shop it costs €1,168, was €1,669.","u":"/en/3d-printing/3d-scanners/revopoint-metroy-pro/","x":"Revopoint 3D scanner scan Blue multi-line laser (34 cross lines, 15 parallel lines, 1 single line) + blue full-field structured light (62 lines) Makers who want to scan small to medium-sized parts precisely, by hand or automatically on the turntable, and work wirelessly Up to 0.02 mm accuracy with laser and full-field blue light Wireless via Wi-Fi 6, Mobile Kit, tripod and turntable included in the box Geometry tracking in addition to markers No built-in battery, power supply or power bank required Colour only in turntable mode, not for outdoor use High PC requirements (on Windows from 32 GB RAM and NVIDIA GPU)"},{"t":"Revopoint MetroY Ultra","k":"3D scanner","d":"The MetroY Ultra is the flagship of the MetroY range with accuracy of up to 0.015 mm, up to 90 fps and a battery grip for wireless scanning. In the official shop it costs €1,583 in the Standard Edition and €2,079 for the CMM Edition with ball plate for accuracy checks.","u":"/en/3d-printing/3d-scanners/revopoint-metroy-ultra/","x":"Revopoint 3D scanner scan Blue multi-line laser (34 cross lines, 15 parallel lines, 1 single line for deep holes) + blue full-field structured light (62 lines) Makers and small businesses who want to scan small to medium-sized parts very accurately and wirelessly and optionally measure them Highest accuracy in the Metro series: up to 0.015 mm, volumetric 0.015 mm + 0.04 mm x L (m) Up to 90 fps and 3,000,000 points/s in laser mode Wireless with Battery Grip (approx. 2.5 hours), laser mode also outdoors up to 100,000 lux Expensive: €1,583 (standard) or €2,079 (CMM Edition) Colour only in turntable mode High PC requirements, full 90 fps only with an NVIDIA GPU"},{"t":"Einstar Rockit","k":"3D scanner","d":"The Einstar Rockit is a compact handheld scanner from Shining 3D with cross and parallel laser plus infrared VCSEL, built-in Wi-Fi and battery, but without its own screen. It costs €2,159 in the EU shop and needs a powerful PC for processing.","u":"/en/3d-printing/3d-scanners/einstar-rockit/","x":"Einstar 3D scanner scan Two modes: Laser HD with 38 cross laser lines (19 + 19) and 7 blue parallel lines, and IR Rapid with infrared VCSEL Makers who want to scan both small parts by laser and large objects by infrared with a compact, wireless device and have a powerful PC Laser with 38 cross lines and parallel lines plus infrared in one device Wireless via built-in Wi-Fi with battery Feature tracking also in laser mode, not just markers No accuracy figure on the product page High PC requirements: at least 32 GB DDR5 and RTX 3060 laptop GPU, 64 GB for markerless laser scanning At €2,159 considerably more expensive than the Einstar 2"},{"t":"Creality Sermoon P1","k":"3D scanner","d":"The Sermoon P1 is a handheld scanner with a built-in computer, a 6-inch touchscreen and two swappable batteries that captures scans without a PC and processes them into finished models. It combines a blue laser (up to 0.02 mm) with near infrared and costs €3,499 in the DE shop.","u":"/en/3d-printing/3d-scanners/creality-sermoon-p1/","x":"Creality 3D scanner scan Blue laser light (22 cross lines, 7 parallel lines, 1 single line for deep holes) + near-infrared structured light with near and far mode; four lenses Makers and small businesses who want to scan technical parts, vehicle parts or people on site without a laptop and process them directly on the device Scanning and processing entirely on the device with a 6-inch touchscreen, no PC needed Three laser modes (22 cross lines, 7 parallel lines, single line for deep holes) plus NIR for people and large objects Two swappable batteries and Wi-Fi 7, laser mode up to 100,000 lux ambient light according to the manufacturer Expensive: €3,499 in the DE shop In laser mode only marker tracking, so markers are required At 830 g considerably heavier than the PIKA (260 g) or Raptor (372 g)"},{"t":"Creality Sermoon S1","k":"3D scanner","d":"The Sermoon S1 is a handheld scanner for PC with a blue laser (34 cross lines, 7 parallel lines, single line) and near infrared in near and far mode. It reaches up to 0.02 mm according to the manufacturer, weighs 508 g and costs €2,399 in the DE shop.","u":"/en/3d-printing/3d-scanners/creality-sermoon-s1/","x":"Creality 3D scanner scan Blue laser light (34 cross lines, 7 parallel lines, 1 single line for deep holes) + near-infrared structured light with near and far mode; 4-lens NIR system (two stereo cameras for accuracy, two wide-angle cameras for large objects) Makers and small businesses who want to scan everything from small parts to vehicle parts to people with one device on a PC Three laser modes plus NIR near and far: one device for objects from 5 mm to 4 m At 508 g considerably lighter than the Sermoon P1 (830 g) and P1S (807 g) Cross lines and single line outdoors up to 100,000 lux according to the manufacturer No display and no built-in computer: scanning only with a PC Wireless only with the separately available Scan Bridge (as a bundle for €2,439 in the DE shop) In laser mode only marker tracking, so markers are required"},{"t":"Creality Sermoon X1","k":"3D scanner","d":"The Sermoon X1 is Creality's handheld scanner for inspection and reverse engineering: blue laser (34 cross lines, 7 parallel lines, single line) and near infrared, plus photogrammetry with scale bars and Scan Bridge for wireless scanning. Creality states volumetric accuracy of 0.02 mm + 0.04 mm/m, and it costs €6,099 in the DE shop.","u":"/en/3d-printing/3d-scanners/creality-sermoon-x1/","x":"Creality 3D scanner scan Blue laser light (34 cross lines, 7 parallel lines, 1 single line for deep holes) + binocular near-infrared structured light; built-in photogrammetry with two magnetic carbon fibre scale bars; CNC-milled metal carrier for optics and lenses Small businesses and workshops that want to handle inspection tasks and reverse engineering on small to large parts with high volumetric accuracy, also wirelessly Highest volumetric accuracy in the Sermoon range: 0.02 mm + 0.04 mm/m, with scale bars 0.03 mm/m Scan Bridge for wireless scanning and scale bars included according to the manual Carrier for optics and lenses made from a single piece of CNC-milled metal, lenses mechanically locked Expensive: €6,099 in the DE shop No display and no built-in computer: scanning only with a PC Delivery time according to the DE shop 15 to 20 working days (as of 16.10.2026)"},{"t":"Creality Sermoon P1S","k":"3D scanner","d":"The Sermoon P1S is the cheaper variant of the Sermoon P1: a handheld scanner with built-in computer, 6-inch touchscreen and two swappable batteries that combines a blue laser with 34 cross lines and near infrared. It weighs 807 g and costs €2,199 in the DE shop.","u":"/en/3d-printing/3d-scanners/creality-sermoon-p1s/","x":"Creality 3D scanner scan Blue laser light (34 cross lines, 7 parallel lines, 1 single line for deep holes) with wide-angle mode + near-infrared structured light; two removable NIR filters for outdoor scans Makers and small businesses who want to scan technical parts, vehicle parts or people on site without a laptop and process them directly on the device Scanning and processing entirely on the device with a 6-inch touchscreen, no PC needed 34 cross lines with wide-angle mode for large objects, markerless laser mode also available when connected to a PC by cable Two swappable batteries and Wi-Fi 7, laser mode up to 110,000 lux ambient light according to the manufacturer No charger included (according to the manufacturer, USB-C with PD 3.0 from 30 W is required) According to the manufacturer, lower volumetric accuracy than the Sermoon P1 (0.08 instead of 0.06 mm/m) and 16 instead of 24 GB RAM At 807 g, much heavier than the Sermoon S1 (508 g)"},{"t":"3DMakerpro: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D scanner","u":"/en/brands/3dmakerpro/","x":"3DMakerpro manufacturer brand 3DMakerpro Fox 3DMakerpro Seal"},{"t":"Acmer: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/acmer/","x":"Acmer manufacturer brand Acmer P2 33W Acmer P3 48W Acmer S2 Pro 48W Acmer P3 10W Diode + 2W IR Acmer GE1 Acmer PM 60W MOPA Acmer SM 60W MOPA Acmer P1 S Pro 20W Acmer P1 10W Acmer S2 20W Acmer K1 12W Acmer S1 6W"},{"t":"Anycubic: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D printers (filament), Resin printers","u":"/en/brands/anycubic/","x":"Anycubic manufacturer brand Anycubic Kobra X Anycubic Kobra S1 Anycubic Kobra 4 Anycubic Kobra 3 Anycubic Kobra S1 Max Anycubic Kobra 3 V2 Anycubic Photon Mono 4 Anycubic Photon Mono M7 Pro Anycubic Photon P1 Anycubic Photon P1 Max Anycubic Photon Mono M7 Max"},{"t":"Atomstack: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/atomstack/","x":"Atomstack manufacturer brand Atomstack A70 Max Atomstack X70 Max Atomstack A24 Pro Atomstack P1"},{"t":"Bambu Lab: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D printers (filament), Laser","u":"/en/brands/bambu-lab/","x":"Bambu Lab manufacturer brand Bambu Lab A1 Bambu Lab P2S Bambu Lab A1 mini Bambu Lab P1S Bambu Lab X1 Carbon Bambu Lab H2D Bambu Lab A2L Bambu Lab H2S Bambu Lab H2C Bambu Lab X2D Bambu Lab P1P Bambu Lab H2D Laser Bambu Lab R1"},{"t":"Brother: all devices in the Maker-Wiki","k":"Manufacturer","d":"Sublimation printer, Cutting plotters","u":"/en/brands/brother/","x":"Brother manufacturer brand Brother SP1 Brother ScanNCut SDX2250D"},{"t":"Carverall: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/carverall/","x":"Carverall manufacturer brand Carverall K4 Pro Carverall K15 Pro Carverall A1 Pro Carverall X1 Pro Carverall Xmax Carverall Z3 Carverall Z15 Carverall Z12 Carverall G2 Carverall G6 Carverall C1"},{"t":"ComMarker: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/commarker/","x":"ComMarker manufacturer brand ComMarker B4 20W"},{"t":"Creality: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D printers (filament), Resin printers, 3D scanner, Laser","u":"/en/brands/creality/","x":"Creality manufacturer brand Creality Ender-3 V3 SE Creality K2 Pro Creality K2 SE Creality Ender-3 V4 Creality SparkX i7 Creality K2 Creality K2 Plus Creality K1C Creality K1 Max Creality Ender-3 V3 Creality Ender-3 V3 KE Creality HALOT-MAGE S 14K Creality CR-Scan Ferret SE Creality Otter Lite Creality PIKA Creality CR-Scan Raptor Creality CR-Scan Otter Creality CR-Scan Ferret Pro Creality CR-Scan Raptor Pro Creality Sermoon P1 Creality Sermoon S1 Creality Sermoon X1 Creality Sermoon P1S Creality Falcon2 22W Creality Falcon2 Pro 22W Creality Falcon A1 Pro 20W Creality Falcon A1C"},{"t":"Cricut: all devices in the Maker-Wiki","k":"Manufacturer","d":"Heat presses, Cutting plotters","u":"/en/brands/cricut/","x":"Cricut manufacturer brand Cricut AutoPress 2 Cricut EasyPress SE 12 x 10 Cricut Mug Press Cricut Maker 5 Cricut Explore 5 Cricut Joy Xtra"},{"t":"Einstar: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D scanner","u":"/en/brands/einstar/","x":"Einstar manufacturer brand Einstar 2 Einstar VEGA Einstar Rockit"},{"t":"Elegoo: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D printers (filament), Resin printers","u":"/en/brands/elegoo/","x":"Elegoo manufacturer brand Elegoo Centauri Carbon Elegoo Centauri Carbon 2 Elegoo Centauri 2 Elegoo Neptune 4 Pro Elegoo Neptune 4 Plus Elegoo Neptune 4 Max Elegoo Saturn 4 Ultra 16K Elegoo Jupiter 2"},{"t":"Epson: all devices in the Maker-Wiki","k":"Manufacturer","d":"UV printer, Sublimation printer","u":"/en/brands/epson/","x":"Epson manufacturer brand Epson SureColor SC-V1000 Epson SureColor SC-F100"},{"t":"eufyMake: all devices in the Maker-Wiki","k":"Manufacturer","d":"UV printer","u":"/en/brands/eufymake/","x":"eufyMake manufacturer brand eufyMake E1"},{"t":"Flashforge: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D printers (filament), Special 3D printing devices","u":"/en/brands/flashforge/","x":"Flashforge manufacturer brand Flashforge Creator 5 Flashforge Creator 5 Pro Flashforge AD5X Flashforge Adventurer 5M Flashforge Adventurer 5M Pro Flashforge CJ270"},{"t":"Formlabs: all devices in the Maker-Wiki","k":"Manufacturer","d":"Resin printers","u":"/en/brands/formlabs/","x":"Formlabs manufacturer brand Formlabs Form 4 Formlabs Form 4L"},{"t":"Gweike: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/gweike/","x":"Gweike manufacturer brand Gweike G2 20W Gweike G2 PRO 30W Gweike G2 MAX 50W Gweike G3 Gweike G3 MOPA Gweike MCore Gweike G1 Gweike G6 Split Gweike G6 MOPA Gweike G6 Split MOPA Gweike G7 UV Gweike M3 Gweike Cloud Pro II 50W"},{"t":"HTVRONT: all devices in the Maker-Wiki","k":"Manufacturer","d":"Heat presses","u":"/en/brands/htvront/","x":"HTVRONT manufacturer brand HTVRONT Auto Heat Press 2"},{"t":"LaserPecker: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/laserpecker/","x":"LaserPecker manufacturer brand LaserPecker LP4 LaserPecker LP5"},{"t":"Longer: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser, UV printer","u":"/en/brands/longer/","x":"Longer manufacturer brand Longer Ray5 20W Longer Nano Pro 12W Longer ePrint"},{"t":"Monport: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/monport/","x":"Monport manufacturer brand Monport Reno45 Pro"},{"t":"OMTech: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/omtech/","x":"OMTech manufacturer brand OMTech Polar Lite 55W OMTech F30C 30W"},{"t":"Ortur: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/ortur/","x":"Ortur manufacturer brand Ortur Laser Master 3 20W Ortur R2 Ortur H20"},{"t":"Phrozen: all devices in the Maker-Wiki","k":"Manufacturer","d":"Resin printers","u":"/en/brands/phrozen/","x":"Phrozen manufacturer brand Phrozen Sonic Mini 8K S Phrozen Sonic Mighty 16K Phrozen Sonic Mighty Revo 16K MAX"},{"t":"Procolored: all devices in the Maker-Wiki","k":"Manufacturer","d":"UV printer, DTF printer","u":"/en/brands/procolored/","x":"Procolored manufacturer brand Procolored V4 Procolored V6 Panda Procolored V11 Procolored V11 Pro Procolored VF13 Pro Panda Procolored K13 Lite Procolored F8 Panda"},{"t":"Prusa Research: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D printers (filament)","u":"/en/brands/prusa/","x":"Prusa Research manufacturer brand Prusa CORE One+ Prusa CORE One L+ Prusa MK4S Prusa MINI+ Prusa XL+ Prusa Pro HT90"},{"t":"QIDI Tech: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D printers (filament)","u":"/en/brands/qidi/","x":"QIDI Tech manufacturer brand Qidi Plus4 Qidi Plus5 Qidi Q2 Qidi Q1 Pro Qidi X-Max 3 Qidi Max4"},{"t":"Revopoint: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D scanner","u":"/en/brands/revopoint/","x":"Revopoint manufacturer brand Revopoint INSPIRE 2 Revopoint POP 4 Revopoint MetroX Pro Revopoint MIRACO Plus Revopoint MetroX Revopoint MetroY Revopoint MetroY Pro Revopoint MetroY Ultra"},{"t":"Sawgrass: all devices in the Maker-Wiki","k":"Manufacturer","d":"Sublimation printer","u":"/en/brands/sawgrass/","x":"Sawgrass manufacturer brand Sawgrass SG500 Sawgrass SG1000"},{"t":"Sculpfun: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/sculpfun/","x":"Sculpfun manufacturer brand Sculpfun S30 Ultra 33W Sculpfun SF-A9 40W Sculpfun A9 Ultra (20 W Faser + 40 W Diode) Sculpfun iCube Ultra"},{"t":"Silhouette: all devices in the Maker-Wiki","k":"Manufacturer","d":"Cutting plotters","u":"/en/brands/silhouette/","x":"Silhouette manufacturer brand Silhouette Cameo 5α"},{"t":"Snapmaker: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D printers (filament), Laser","u":"/en/brands/snapmaker/","x":"Snapmaker manufacturer brand Snapmaker U1 Snapmaker Ray 40W"},{"t":"Sovol: all devices in the Maker-Wiki","k":"Manufacturer","d":"3D printers (filament)","u":"/en/brands/sovol/","x":"Sovol manufacturer brand Sovol SV08 Sovol SV06 Sovol SV06 Plus Sovol SV08 Max Sovol SV06 ACE Sovol SV06 Plus ACE"},{"t":"Thunder Laser: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/thunder-laser/","x":"Thunder Laser manufacturer brand Thunder Laser Bolt 30W Thunder Laser Nova 35"},{"t":"WeCreat: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser","u":"/en/brands/wecreat/","x":"WeCreat manufacturer brand WeCreat Vision 20W WeCreat Vision Pro 45W"},{"t":"xTool: all devices in the Maker-Wiki","k":"Manufacturer","d":"Laser, UV printer, Heat presses, DTF printer","u":"/en/brands/xtool/","x":"xTool manufacturer brand xTool S1 20W xTool S1 40W xTool F1 Ultra xTool F2 Ultra xTool F2 Ultra UV xTool F2 xTool M2 xTool X1 xTool P2S xTool P3 xTool M1 Ultra xTool F1 xTool F1 Lite xTool D1 Pro 20W xTool O1 Omni xTool WonderPress xTool Apparel Printer Plus"},{"t":"Manufacturers at a glance","k":"Overview","d":"All brands in the wiki with their devices from all areas.","u":"/en/brands/"},{"t":"Flashforge CJ270","k":"3D printing special device","d":"The Flashforge CJ270 brings material jetting with over 10 million colours to the desk for the first time at around €4,000 and prints layers from 7 µm with water-soluble support material. Build volume, print time and the proprietary resin system limit its use to small colour models, and independent tests are still pending.","u":"/en/3d-printing/special-devices/flashforge-cj270/","x":"Flashforge Full-colour 3D printer full colour colour printing Creatives, figure designers and small businesses who want to print small, ready-coloured models and figures without painting and accept the closed material system True full-colour printing with colour gradients, no painting Very fine layers from 7 µm and water-soluble supports for complex geometries Desktop format with activated carbon filter, max. 55 dB and automatic levelling Small build volume of 180 x 120 x 100 mm and long print times of 15 to over 25 hours for larger models Closed material system: only Flashforge resin with one-time activation cards, opened material keeps for only 2 months No Wi-Fi at launch, contradictory software support for macOS, no independent hands-on tests available"},{"t":"3D scanners at a glance","k":"Overview","d":"All 3D scanners with technology, accuracy, working distance and price.","u":"/en/3d-printing/3d-scanners/"},{"t":"Resin printers at a glance","k":"Overview","d":"All resin printers with build volume, display, resolution and price.","u":"/en/3d-printing/resin-printers/"},{"t":"Makerspace devices at a glance","k":"Overview","d":"Heat presses, sublimation printers, cutting plotters and DTF printers.","u":"/en/makerspace/devices/"},{"t":"FDM","k":"Glossary · Processes","d":"The most common type of 3D printing at home: a plastic strand is melted and applied layer by layer to form an object, similar to a hot glue gun.","u":"/en/glossary/fdm/","x":"FDM Fused Deposition Modeling, also called FFF (Fused Filament Fabrication). A thermoplastic filament is heated above its melting temperature in the hotend and pushed out through a nozzle. The tracks are laid down layer by layer. The resolution in height is set by the layer height (typically 0.1 to 0.3 mm), in the plane mainly by the nozzle diameter. Pros: inexpensive machines and materials, a very wide choice of materials. Cons: visible layer lines and direction-dependent strength, because adhesion between layers is weaker than the material itself."},{"t":"Filament","k":"Glossary · Material","d":"The printing material for most 3D printers: a thin plastic wire wound on a spool.","u":"/en/glossary/filament/","x":"Filament filament Filaments filaments A thermoplastic strand of standardised diameter, today almost always 1.75 mm (more rarely 2.85 mm). Important quality features are diameter tolerance (good manufacturers about ±0.02 mm), roundness and dryness. Many filaments are hygroscopic, meaning they absorb moisture from the air. This leads to bubbles, strings and rough surfaces. Besides pure plastics there are filled variants with carbon or glass fibres, wood or metal particles."},{"t":"Nozzle","k":"Glossary · Part","d":"The small metal tip from which the molten plastic emerges. Its opening determines how finely you can print.","u":"/en/glossary/nozzle/","x":"Nozzle nozzle Nozzles nozzles The nozzle sits at the end of the hotend. The standard is 0.4 mm. 0.2 mm allows finer details with a much longer print time, while 0.6 and 0.8 mm increase throughput and strength. Rules of thumb: line width about 100 to 120 % of the nozzle diameter, layer height at most about 75 to 80 %. Brass nozzles conduct heat well but wear quickly with abrasive filaments containing carbon or glass fibres. Nozzles made of hardened steel, with a ruby tip or made of tungsten carbide are available for these."},{"t":"Hotend","k":"Glossary · Part","d":"The heated part of the print head in which the plastic filament is melted.","u":"/en/glossary/hotend/","x":"Hotend hotend Hotends hotends hot end Consists of a heater block, heater cartridge, temperature sensor, heatbreak and nozzle. The heatbreak separates the hot zone from the cold zone so that the filament does not soften too early. The maximum temperature limits the choice of material: PLA needs around 200 °C, PETG 240 °C, ABS and ASA 240 to 260 °C, PC and PA often 250 to 300 °C, and high-performance plastics such as PEEK roughly 370 to 450 °C depending on the filament. For fast printing, the maximum volumetric flow rate in mm³/s is the most important figure."},{"t":"Extruder","k":"Glossary · Part","d":"The drive that grips the plastic strand and pushes it evenly into the print head.","u":"/en/glossary/extruder/","x":"Extruder extruder Extruders extruders Gears, often two counter-rotating ones (dual gear), clamp the filament and feed it at a defined speed. Gearboxes (for example 3:1 or 10:1) increase force and resolution. Key figures are the rotation distance or E-steps and the maximum pushing force. There are two designs: direct drive (extruder directly above the hotend) and Bowden (extruder on the frame, filament runs through a PTFE tube)."},{"t":"Print bed","k":"Glossary · Part","d":"The plate on which the object is printed. It is usually heated so that the print sticks to it.","u":"/en/glossary/print-bed/","x":"print bed Print bed print beds build plate Build plate build plates heated bed Heated bed Today usually a heated aluminium bed with a magnetic sheet and a removable spring steel plate. Common surfaces: smooth PEI (glossy underside, very good adhesion), textured PEI (textured underside, parts release easily after cooling), glass and special coatings. Typical temperatures: PLA 50 to 60 °C, PETG 70 to 85 °C, ABS and ASA 90 to 110 °C. Grease from fingers is the most common cause of poor adhesion."},{"t":"Direct drive","k":"Glossary · Design","d":"The drive for the plastic filament sits directly on the print head. This also lets soft, rubbery materials print well.","u":"/en/glossary/direct-drive/","x":"Direct drive direct drive Direct Drive direct-drive Direct-drive Short filament path between drive gear and nozzle. Advantages: precise retractions with short retraction (0.5 to 2 mm) and reliable feeding of flexible filaments such as TPU. Disadvantage: more moving mass on the print head. This used to limit speed, but light extruders and input shaping now largely compensate for it. Standard on almost all new printers."},{"t":"Bowden","k":"Glossary · Design","d":"The drive for the plastic strand sits on the frame, and the strand runs through a tube to the print head. This makes soft materials harder to print.","u":"/en/glossary/bowden/","x":"Bowden The extruder is mounted on the frame and pushes the filament through a PTFE tube (often 30 to 60 cm) to the hotend. The print head becomes lighter, but the filament can buckle in the tube. Consequences: longer retraction (often 4 to 7 mm), more tendency to stringing and difficulties with soft TPU. On new devices it is mainly still common on small entry-level printers."},{"t":"Bed slinger","k":"Glossary · Design","d":"A 3D printer in which the print plate moves back and forth during printing. Inexpensive and simple, but usually slower.","u":"/en/glossary/bed-slinger/","x":"bed slinger Bed slinger bed slingers Bed slingers Bed Slinger A Cartesian design in which the bed forms the Y axis. The moving mass of bed and printed part limits acceleration and speed and can cause vibrations on tall, slender parts. Advantages: simple mechanics, inexpensive, easy to access. It needs space in front of and behind the device (about twice the bed depth) and is difficult to enclose."},{"t":"CoreXY","k":"Glossary · Design","d":"A 3D printer in which only the print head moves back and forth while the print plate slowly sinks downwards. Fast and easy to build into an enclosure.","u":"/en/glossary/corexy/","x":"CoreXY Two fixed motors move the print head in X and Y via two crossed belts, and each movement results from the combination of both motors. The bed moves only in Z. The low moving mass allows high accelerations, often 10,000 to 20,000 mm/s². The cube shape is easy to enclose, which is important for ABS, ASA and PA. Both belts must be tensioned equally, otherwise parts come out skewed."},{"t":"Delta printer","k":"Glossary · Design","d":"A 3D printer in which the print head hangs from three arms that travel up and down on vertical columns. Very fast, but rare.","u":"/en/glossary/delta/","x":"delta kinematics Delta kinematics delta printer Delta printer delta printers Delta printers Delta Three carriages on vertical columns move the print head via parallelogram arms. The position in X, Y and Z results from the interplay of all three. Round build volume, very low moving mass and therefore high speeds. Drawbacks: complex calibration and lower accuracy at the edge of the build volume. Rare among hobbyists, occasional in the professional sector, for example on high-temperature printers."},{"t":"Auto bed levelling","k":"Glossary · Function","d":"The printer measures for itself whether the print plate is higher or lower anywhere and compensates for this automatically while printing.","u":"/en/glossary/auto-bed-levelling/","x":"auto bed levelling Auto bed levelling auto bed leveling Auto Bed Leveling automatic levelling Automatic levelling mesh levelling Mesh levelling A sensor (inductive, mechanical probe, load cell or eddy current sensor) scans the bed in a grid, often at 25 to over 100 points. This produces a height profile (mesh), which the firmware uses to adjust the Z axis during the first layers. It compensates for unevenness of a few tenths of a millimetre, but does not replace a badly skewed mechanism."},{"t":"Multi-colour printing","k":"Glossary · Function","d":"Add-on devices or printers that automatically switch between several colours or materials during printing.","u":"/en/glossary/multi-colour-printing/","x":"multi-colour printing Multi-colour printing multicolour printing Multicolour printing multi-colour system Multi-colour system There are two basic principles. Single-nozzle systems, such as AMS from Bambu Lab, MMU3 from Prusa, ACE from Anycubic or CFS from Creality, cut off the filament, swap the spool and purge out the old colour. This costs time and material with every change. Tool changers have a separate nozzle for each material, which greatly reduces waste and time. Printers with two nozzles sit in between: they switch between two nozzles, but often several colours share one nozzle via a filament changer. Many systems also store the filament dry or actively dry it."},{"t":"AMS (Automatic Material System)","k":"Glossary · Accessories","d":"An add-on device from Bambu Lab that holds several spools and automatically feeds the printer the colour or material it needs at the moment. This gives you multi-colour prints without changing spools by hand.","u":"/en/glossary/ams/","x":"AMS AMS lite AMS Lite AMS 2 Pro AMS HT Automatic Material System CFS ACE Pro ACE 2 Pro MMU3 AMS stands for Automatic Material System and is a Bambu Lab product name, not a general technical term. There is the enclosed AMS with four spools, the open AMS lite for the A1 series, the AMS 2 Pro with active drying and the AMS HT for a single spool, which can dry at up to 85 °C and is intended for engineering materials. On X1 and P1 series printers, up to four AMS units can be linked to give 16 colours. Other manufacturers have their own systems: CFS (Creality Filament System), ACE Pro and ACE 2 Pro (Anycubic Color Engine) and MMU3 (Prusa Multi Material Unit 3). All of them work with a single nozzle: the old filament is cut off or retracted, the new one is fed in and the nozzle is purged. This costs time and material with every change."},{"t":"Poop and prime tower (purge)","k":"Glossary · Function","d":"When a printer changes colour in the middle of a print, it first has to push out the old colour. This waste ends up as small plastic worms behind the printer or in a small tower printed alongside the actual part.","u":"/en/glossary/purge/","x":"poop Poop prime tower Prime tower Prime Tower purge tower Purge tower Purge Tower wipe tower Wipe tower Wipe Tower purge waste Purge waste When changing colour or material, the hotend and nozzle still hold molten material of the old colour. It is pushed out until the new colour comes through cleanly. Bambu Lab printers purge at a spot at the back of the build volume and eject the material through a chute, where it lands as flat \"sausages\". Alternatively or additionally, the slicer places a prime tower (purge tower or wipe tower) next to the part. It purges at every change and steadies the material flow after the change. Printers without a chute, such as those with the Prusa MMU3, purge entirely into the tower. Bambu Studio and OrcaSlicer calculate the purge volume per colour pair in mm³, and going from dark to light takes much more than the reverse. For parts with many changes, the waste can weigh more than the part itself."},{"t":"Tool changer","k":"Glossary · Function","d":"A printer with several print heads that automatically switches heads during printing. This allows colours and materials to be combined with almost no waste.","u":"/en/glossary/tool-changer/","x":"tool changer Tool changer tool changers Tool changers toolchanger Each tool has its own hotend and nozzle, and unused heads park outside the print area. Compared with single-nozzle systems, there is hardly any purge waste, changes are faster, and very different materials can be combined, such as PLA with TPU or water-soluble PVA. Drawbacks: higher price, additional mechanics and calibrating the head offsets."},{"t":"Heated chamber","k":"Glossary · Function","d":"The closed interior of a printer. When it is warm, sensitive materials warp less during printing.","u":"/en/glossary/heated-chamber/","x":"heated chamber Heated chamber chamber heating Chamber heating chamber An enclosure keeps the heat of the print bed in the build volume. Passive chambers often reach 35 to 50 °C this way, actively heated chambers 55 to 90 °C. A warm, draught-free environment clearly reduces warping and layer cracks with ABS, ASA, PC and PA. For PLA a warm chamber is rather harmful (heat creep, clogged nozzle), so open the door or lid. Activated carbon or HEPA filters reduce odours and particles."},{"t":"Slicer","k":"Glossary · Software","d":"The programme on the computer that slices a 3D model into layers and creates the instructions for the printer from it.","u":"/en/glossary/slicer/","x":"Slicer slicer Slicers slicers Converts a model (STL, 3MF, STEP) into G-code or a manufacturer-specific format. This is where layer height, wall count, infill, temperatures, speeds, cooling and supports are set. Widely used slicers are PrusaSlicer, OrcaSlicer, Bambu Studio and UltiMaker Cura. Good profiles often affect quality and print time more than the printer itself."},{"t":"Z offset","k":"Glossary · Setting","d":"How far the nozzle is above the print plate at the start. If this distance is wrong, the first layer adheres poorly.","u":"/en/glossary/z-offset/","x":"Z offset Z-offset Z Offset The offset between the trigger point of the bed sensor and the actual zero height of the nozzle. The first layer should be slightly squashed, with the lines touching without gaps. Too high: round, loose lines and poor adhesion. Too low: the nozzle scrapes, hardly any material comes out, elephant's foot. Adjust in steps of 0.01 to 0.02 mm. Many current printers measure the Z offset automatically with a load cell or pressure sensor."},{"t":"Layer height","k":"Glossary · Setting","d":"How thick each printed layer is. Thinner layers look finer, but the print takes longer.","u":"/en/glossary/layer-height/","x":"layer height Layer height layer heights Layer heights Common values are 0.1 to 0.3 mm with a 0.4 mm nozzle, and the standard is 0.2 mm. Halving the layer height roughly doubles the print time. The upper limit is about 75 to 80 % of the nozzle diameter. Layer height makes the biggest visible difference on sloped and round surfaces. Many slicers offer adaptive layer heights, which print finely only where needed."},{"t":"Infill","k":"Glossary · Setting","d":"The fill inside a print. Printed parts are usually not solid inside but filled with a lattice pattern.","u":"/en/glossary/infill/","x":"Infill infill Given as a percentage of the interior volume. Decorative: 5 to 15%, everyday parts: 15 to 25%, load-bearing functional parts: 30 to 50%. Patterns such as gyroid, grid, cubic or lightning affect strength, print time and material use. For strength, extra walls (perimeters) and top layers are often more effective than more infill."},{"t":"Supports (support structures)","k":"Glossary · Setting","d":"Auxiliary scaffolds that are printed along with the part so that overhanging sections do not hang in mid-air. They are broken off after printing.","u":"/en/glossary/supports/","x":"support structures Support structures support structure Overhangs shallower than about 45° from the horizontal need support. Normal supports form a grid under the overhang, while tree supports (tree, organic) branch out and save material. The gap between support and part (typically 0.1 to 0.25 mm) determines how easily it comes off. On multi-material printers, water-soluble PVA or a poorly adhering material can serve as a separating layer."},{"t":"Retraction","k":"Glossary · Setting","d":"The printer briefly pulls the plastic filament back before moving to another spot. That way nothing drips out on the way.","u":"/en/glossary/retraction/","x":"Retraction retraction Key values are retraction length and speed. Direct drive: usually 0.5 to 2 mm at 30 to 45 mm/s. Bowden: often 4 to 7 mm. Too much retraction can pull molten material into the heatbreak and cause clogs. Related settings are wipe, Z hop and pressure advance (or linear advance)."},{"t":"Brim","k":"Glossary · Setting","d":"A thin, flat edge that is printed around the print to help it stay on the plate better. It is peeled off afterwards.","u":"/en/glossary/brim/","x":"Brim brim Several lines in the first layer, usually 3 to 10 mm wide, directly adjoining the part. It enlarges the adhesion area and holds corners down, so it works well against warping and with small contact areas. Distinction: a skirt is an outline at a distance, only for priming the nozzle. A raft is a complete base under the part. Many slicers leave a tiny gap between brim and part so that it comes off cleanly."},{"t":"Part cooling fan","k":"Glossary · Part","d":"The fan on the print head that blows directly onto the freshly printed material so that it solidifies quickly. Important for overhangs, bridges and fine details.","u":"/en/glossary/part-cooling-fan/","x":"part cooling fan Part cooling fan Part Cooling Fan part cooling fans part cooling Part cooling The part cooling fan sits on the print head and blows over a nozzle or an air duct onto the layer that has just been laid. It is not to be confused with the hotend fan, which cools the heat sink above the melt zone and must always run. How strongly the part cooling fan should run depends on the material: PLA usually with full cooling, PETG and TPU medium, ABS, ASA, PA and PC only a little, so that the layers bond well and the corners do not lift. The first layers are usually printed without cooling. Many fast printers also have a side or chamber fan that blows on the part from the outside."},{"t":"Warping","k":"Glossary · Failure pattern","d":"The corners of a print curl upwards and come off the plate. It happens mainly in cold and draughts.","u":"/en/glossary/warping/","x":"Warping warping The cause is shrinkage on cooling: upper layers contract and create tension that lifts the corners. Materials with high shrinkage such as ABS, ASA, PA and PC are especially affected. Countermeasures: higher bed temperature, an enclosed, preheated chamber, brim, less part cooling, a clean print surface and rounded corners in the design."},{"t":"Stringing","k":"Glossary · Failure pattern","d":"Fine plastic threads between separate parts of the print that look like cobwebs.","u":"/en/glossary/stringing/","x":"Stringing stringing Occurs when molten plastic runs out of the nozzle during travel moves. Main causes: nozzle temperature too high, too little or too slow retraction, damp filament. Countermeasures: lower the temperature in steps of 5 degrees, calibrate retraction, dry the filament, and avoid travel moves over outer walls in the slicer. PETG and TPU are more prone to it than PLA."},{"t":"Elephant's foot","k":"Glossary · Failure pattern","d":"The bottom layer of a print bulges outwards and is wider than the rest. Parts then often do not fit together exactly.","u":"/en/glossary/elephants-foot/","x":"elephant's foot Elephant's foot elephant’s foot Elephant’s foot elephant foot Elephant foot It occurs when the first layer is squashed too much (Z offset too low) or the bed is too hot, so that the lower layers give way under the weight. Countermeasures: raise the Z offset slightly, lower the bed temperature, enable elephant's foot compensation in the slicer (typically 0.1 to 0.2 mm) or add a small chamfer to the bottom edge in the design."},{"t":"PLA","k":"Glossary · Filament","d":"The simplest and most popular printing material. Good for decoration, figures and prototypes, but it softens even in the heat of a car.","u":"/en/glossary/pla/","x":"PLA Polylactide, a bioplastic made, for example, from maize starch. Print temperature 190 to 220 °C, bed 50 to 60 °C, strong part cooling. Low shrinkage, hardly any warping, hardly any smell. The glass transition temperature is around 55 to 60 °C, above which PLA becomes soft. Stiff but brittle: it breaks rather than bends. Industrially compostable, but practically non-degradable in home compost. Variants: PLA+, silk, matt and filled types with wood or carbon."},{"t":"PETG","k":"Glossary · Filament","d":"A robust printing material, stronger and more heat-resistant than PLA. Good for brackets and parts that need to withstand some stress.","u":"/en/glossary/petg/","x":"PETG Glycol-modified polyethylene terephthalate, related to the material of PET bottles. Printing temperature 230 to 250 °C, bed 70 to 85 °C, moderate cooling. Tougher and more impact-resistant than PLA, dimensionally stable up to around 70 to 80 °C, with good resistance to many chemicals. Prone to stringing and sometimes sticks too strongly to smooth PEI, so use a release agent such as glue stick. Slightly hygroscopic, store dry."},{"t":"ABS","k":"Glossary · Filament","d":"A heat-resistant printing material of which LEGO bricks, for example, are made. An enclosed printer is recommended because ABS warps easily otherwise, and it smells during printing.","u":"/en/glossary/abs/","x":"ABS Acrylonitrile butadiene styrene. Print temperature 240 to 260 °C, bed 90 to 110 °C, little cooling. Dimensionally stable up to around 90 to 100 °C, tough, easy to sand, glue and smooth with acetone. High shrinkage, so ABS is prone to warping and layer cracks. An enclosed, warm chamber reduces this considerably, and small parts can succeed in an open printer under favourable conditions. Printing produces styrene fumes and fine particles, so use a filter or good ventilation. Not UV-resistant: it yellows and becomes brittle in sunlight."},{"t":"ASA","k":"Glossary · Filament","d":"A heat- and weather-resistant printing material for parts that need to withstand sun and rain outdoors. An enclosed printer is recommended and makes printing much easier.","u":"/en/glossary/asa/","x":"ASA Acrylonitrile styrene acrylate. Printing behaviour similar to ABS: 240 to 260 °C, bed 90 to 110 °C, enclosed chamber recommended. Instead of butadiene, ASA contains acrylate rubber, which makes it considerably more UV- and weather-resistant. Dimensionally stable up to around 90 to 100 °C. Typical for parts on cars, in the garden or on house walls. Watch out for fumes when printing here too."},{"t":"TPU","k":"Glossary · Filament","d":"A soft, rubbery printing material. It is used, for example, to print phone cases, seals or non-slip feet.","u":"/en/glossary/tpu/","x":"TPU Thermoplastic polyurethane. The hardness is given in Shore A, 95A is common, and softer grades (85A to 90A) are more difficult. Print temperature 210 to 230 °C, bed 40 to 60 °C, low volumetric flow rates. A direct drive extruder with a short, guided filament path is almost essential. Hygroscopic and prone to stringing, so keep retraction low. Very abrasion-resistant and impact-resistant."},{"t":"PVA","k":"Glossary · Filament","d":"A water-soluble printing material for support structures. After printing, you put the part in water and the supports dissolve.","u":"/en/glossary/pva/","x":"PVA Polyvinyl alcohol. Used in multi-material printers as support for PLA, more rarely for PETG. Print temperature around 190 to 220 °C. Extremely hygroscopic: store it dry only and dry it before use, otherwise it becomes bubbly and brittle. Dissolving in lukewarm water (at most about 35 °C for PLA parts) takes hours depending on the amount. Alternative with faster solubility: BVOH."},{"t":"PC (polycarbonate)","k":"Glossary · Filament","d":"A very hard, impact-resistant and heat-resistant printing material for engineering parts. Printable well only with a hot, enclosed printer.","u":"/en/glossary/pc/","x":"polycarbonate Polycarbonate PC filament PC (polycarbonate) Polycarbonate. Printing temperature 250 to 290 °C, bed 90 to 120 °C, enclosed, warm chamber. Dimensionally stable up to around 105 to 115 °C depending on the grade, very impact-resistant, partly transparent. Strong shrinkage and high moisture absorption, so dry before printing. Often offered as a blend (PC-ABS, PC-PBT), which is easier to print."},{"t":"PA (nylon)","k":"Glossary · Filament","d":"Nylon: a tough, wear-resistant printing material for gears, hinges and heavily loaded parts. Demanding to print.","u":"/en/glossary/pa/","x":"PA Nylon nylon Polyamide, for example PA6 or PA12, often with carbon or glass fibres (PA-CF, PA-GF). Printing temperature 250 to 300 °C, bed 90 to 120 °C, enclosed chamber recommended. Very tough, abrasion-resistant, good sliding properties. Strongly hygroscopic: damp PA prints badly and loses strength, so always dry it and, if possible, print from a dry box. It often sticks to PEI only with glue stick."},{"t":"PP (polypropylene)","k":"Glossary · Filament","d":"A lightweight, chemical-resistant printing material, as used in many household containers. It adheres poorly to ordinary print plates.","u":"/en/glossary/pp/","x":"PP polypropylene Polypropylene Polypropylene. Printing temperature 220 to 270 °C, bed 85 to 100 °C. Very good chemical resistance, low density, resistant to repeated flexing and therefore good for living hinges. Strong shrinkage and very poor adhesion to common surfaces; special PP build plates or PP tape are required."},{"t":"HIPS","k":"Glossary · Filament","d":"A printing material that serves mainly as a dissolvable support scaffold for ABS prints.","u":"/en/glossary/hips/","x":"HIPS High Impact Polystyrene. Printing temperature 225 to 255 °C, bed 100 to 110 °C, similar to ABS. Dissolves in limonene and is therefore used as a support material for ABS. Can also be printed on its own; it is light and easy to post-process."},{"t":"Fibre-reinforced filaments (CF, GF)","k":"Glossary · Filament","d":"Printing materials with carbon or glass fibres mixed in. Parts become stiffer and look matt, but standard nozzles wear out quickly with them.","u":"/en/glossary/fibre-reinforced-filaments/","x":"fibre-reinforced Fibre-reinforced fiber-reinforced Fiber-reinforced CF/GF filaments CF and GF filaments CF filaments carbon fibre filaments carbon fibre filament Short carbon (CF) or glass fibres (GF), usually 10 to 25% content, in PLA, PETG, PA or PC. Higher stiffness, less warping, a matte surface; toughness often decreases. The fibres are abrasive and quickly wear down brass nozzles and drive gears, so use hardened steel or carbide nozzles. Often hygroscopic, especially PA-CF."},{"t":"Abrasive filaments","k":"Glossary · Filament","d":"Printing materials with hard additives such as carbon or glass fibres, glow pigments or metal powder. During printing, they gradually wear away the small metal tip the plastic comes out of.","u":"/en/glossary/abrasive-filaments/","x":"abrasive Abrasive abrasive filaments Abrasive filaments Hard fillers in the plastic make a filament abrasive: short carbon or glass fibres, strontium aluminate in glow-in-the-dark filaments and metal powder, and to a lesser degree wood fibres, glitter, marble or stone particles and mineral matting agents. As they flow through, the particles wear out the bore of the nozzle, and a brass nozzle can widen noticeably after as little as 0.5 to 2 kg of glow filament. The results are wider, uneven lines, under-extrusion, more stringing and inaccurate dimensions, even when normal PLA is printed afterwards. The remedy is nozzles made of hardened steel, tungsten carbide or with a ruby tip. Hardened steel conducts heat much worse than brass, at around 16 to 22 W/mK against about 105 W/mK, so some profiles use a slightly higher temperature or a lower maximum flow. Unhardened drive gears in the extruder and the feed paths of multi-colour systems also wear out."},{"t":"PEEK / PEKK","k":"Glossary · Filament","d":"High-performance printing materials from industry and medical technology. Extremely resistant to heat and chemicals, but printable only with specialised printers that can reach very high nozzle, bed and chamber temperatures.","u":"/en/glossary/peek/","x":"PEEK PEKK Polyether ether ketone and polyether ketone ketone, semi-crystalline high-performance thermoplastics. The nozzle temperature depends strongly on the material: PEEK is usually processed at about 370 to 450 °C, PEKK depending on the type rather below that (for example 345 to 375 °C according to 3DXTech for PEKK-A). Bed 120 to 160 °C; a heated chamber is recommended or required depending on the material. Continuous service temperature around 250 °C, very chemical-resistant, flame-retardant. The filament costs many times as much as standard materials."},{"t":"PEI","k":"Glossary · Build plate","d":"A plastic with two roles: as a coating on print plates it makes prints stick well. As a printing material it is an extremely heat-resistant specialist plastic.","u":"/en/glossary/pei/","x":"PEI Polyetherimide, trade name Ultem. As a build plate coating (smooth or textured), PEI gives good adhesion with a warm bed, and parts usually release by themselves after cooling. As a filament, PEI is a high-performance plastic with printing temperatures of around 350 to 400 °C, a glass transition at about 215 °C and very good flame resistance; it can only be processed on industrial printers."},{"t":"PLA+ (PLA Plus)","k":"Glossary · Filament","d":"A PLA that the manufacturer advertises as improved, usually as tougher and less brittle. What exactly is different is defined by each manufacturer.","u":"/en/glossary/pla-plus/","x":"PLA+ PLA Plus PLA-Plus PLA+ is not a standardised material designation but a name suffix used by manufacturers. They usually promise higher toughness and impact strength than standard PLA, and in some cases better layer adhesion or a smoother surface. Manufacturers generally do not disclose the formulation. The print temperatures are given on the spool and are usually in the range of PLA. Similar suffixes such as Pro or Tough mean different things depending on the brand, and only the values in the technical datasheets can be compared."},{"t":"PETG HF","k":"Glossary · Filament","d":"A PETG from Bambu Lab developed for fast printing. HF stands for High Flow, meaning high throughput.","u":"/en/glossary/petg-hf/","x":"PETG HF PETG-HF PETG HF is a Bambu Lab product name for a PETG whose formulation is designed for high print speeds. According to the product description at the retailer 3DJake, it prints at 230 to 260 °C nozzle temperature and 65 to 75 °C bed temperature and has a matt surface. Otherwise it behaves like PETG: tougher than PLA, resistant to water and UV light, suitable for outdoor parts. Like any PETG, it absorbs moisture and should be dried before printing. Other manufacturers offer fast-printing PETG under their own names."},{"t":"PCTG","k":"Glossary · Filament","d":"A printing material from the PETG family, but considerably more impact-resistant. It is about as easy to print.","u":"/en/glossary/pctg/","x":"PCTG PCTG is a glycol-modified copolyester and is chemically closely related to PETG. Manufacturers mainly emphasise the higher impact strength: Fiberlogy gives 92 kJ/m² for its PCTG in the notched Izod test according to ISO 180, against 5 to 8 kJ/m² for PETG. Heat deflection temperature, by contrast, is in the range of PETG: Fiberlogy gives 64 °C at 1.8 MPa and 76 °C at 0.45 MPa according to ISO 75. It recommends 250 to 270 °C at the nozzle and 90 °C at the bed; an enclosure is not necessary. According to Spectrum, transparent grades look clearer than PETG."},{"t":"Heat deflection temperature (HDT)","k":"Glossary · Value","d":"The temperature at which a plastic bends under a specified load. It shows roughly how warm a part may get.","u":"/en/glossary/heat-deflection-temperature/","x":"heat deflection temperature Heat deflection temperature HDT HDT stands for heat deflection temperature. According to ISO 75, a standardised test bar rests on two supports, is loaded in the middle and heated evenly, usually at 120 K per hour. The value is reached when the bar deflects by a defined amount. There are three load levels: method A with 1.8 MPa, B with 0.45 MPa and C with 8 MPa, and the result depends strongly on it. Fiberlogy gives 64 °C at 1.8 MPa and 76 °C at 0.45 MPa for its PCTG. A related value is the Vicat softening temperature according to ISO 306, at which a loaded needle penetrates 1 mm deep."},{"t":"Glass transition temperature","k":"Glossary · Value","d":"The temperature at which a plastic changes from hard and glassy to soft and rubbery. For PLA it is only around 55 to 60 °C.","u":"/en/glossary/glass-transition-temperature/","x":"glass transition temperature Glass transition temperature glass transition temperatures glass transition Glass transition At the glass transition, the disordered, amorphous regions of a plastic become mobile, and stiffness and strength drop markedly. Unlike a melting point, the glass transition is not a sharp point, and the measured value depends on the method, such as DSC or DMA. The temperature is abbreviated Tg. For 3D printing it matters for two reasons: above it, parts deform under load, and when drying filament the temperature must stay below it, otherwise the windings stick together on the spool. Semi-crystalline plastics such as PA or PP additionally have a melting range for their crystalline portions."},{"t":"Hygroscopic","k":"Glossary · Property","d":"A material is hygroscopic if it absorbs moisture from the air. Many filaments do this and then print worse.","u":"/en/glossary/hygroscopic/","x":"hygroscopic Hygroscopic hygroscopy Almost all filaments absorb water from the air, and how much depends on the plastic. Particularly hygroscopic are PA (nylon), which according to Prusa can absorb up to 10% of its weight in water, and water-soluble PVA. In the hotend the water evaporates suddenly: it crackles, bubbles and strings appear, the surface becomes rough and layer adhesion weakens. Drying reverses this in most cases. Afterwards the filament should be stored airtight with desiccant."},{"t":"Temperature tower","k":"Glossary · Calibration","d":"A test print made of several floors, each printed at a different nozzle temperature. From the result you can see which temperature suits your filament best.","u":"/en/glossary/temperature-tower/","x":"temperature tower Temperature tower Temperature Tower temperature towers temp tower Temp Tower A temperature tower consists of several identical sections with overhangs, bridges and fine details. The slicer changes the nozzle temperature from section to section, for example from 230 °C at the bottom to 190 °C at the top in steps of 5 degrees. Afterwards you compare the surface, bridges, overhangs and stringing and pick the step with the best overall result. Many slicers have the test built in, such as OrcaSlicer, or you can find ready-made models on platforms like Printables. The value you find applies to this filament on this printer and belongs in the filament profile."},{"t":"Pressure advance (linear advance)","k":"Glossary · Calibration","d":"A function of the printer firmware that predicts the pressure in the nozzle. This makes corners sharper and the starts and ends of lines more even.","u":"/en/glossary/pressure-advance/","x":"pressure advance Pressure advance Pressure Advance linear advance Linear advance Linear Advance Flow Dynamics The filament between the drive and the nozzle behaves slightly like a spring. When the print head accelerates, the material arrives late; when it brakes, the material keeps pushing: corners bulge, line starts are thin and the seam becomes untidy. Pressure advance compensates for this by having the extruder feed slightly more during acceleration and slightly less during braking. The value, often called K, depends on the filament, temperature and extruder. According to the Klipper documentation it is usually between 0.05 and 1, with values at the upper end more likely on Bowden extruders. In Marlin the function is called linear advance, and in Bambu Lab it is called Flow Dynamics."},{"t":"Input shaping","k":"Glossary · Calibration","d":"A function of the printer firmware that compensates for vibrations in the mechanics. This keeps surfaces smooth even at high speed.","u":"/en/glossary/input-shaping/","x":"input shaping Input shaping Input Shaping input shaper Input shaper Input Shaper resonance compensation Resonance compensation vibration compensation Vibration compensation When direction changes quickly, the mechanics keep vibrating, and ripples appear on the surface behind edges, known as ghosting or ringing. Input shaping determines the printer's resonant frequencies, usually with an accelerometer, and shapes the motion commands so that these vibrations cancel each other out. There are different shaper types. Klipper lists ZV, MZV and EI, among others, and recommends MZV or EI for most printers. The Klipper firmware introduced input shaping at the end of 2020, and today it is active out of the box on many printers. Loose belts or a wobbly frame should be fixed first, as input shaping does not replace solid mechanics."},{"t":"Z seam","k":"Glossary · Setting","d":"The vertical line of small dots or bumps that is visible on many prints. It forms where each outer wall begins and ends.","u":"/en/glossary/z-seam/","x":"Z seam Z seams Z-seam Z-seams seam position Every outer wall is a closed loop that has to start somewhere and end at the same point. At the start, pressure in the nozzle has to build up first, at the end some material oozes on, and a tiny gap can be left in between. Because every layer begins at such a point, a seam forms over the height of the part. In FDM printing it cannot be avoided entirely, but it can be controlled: slicers offer positions such as Aligned, Nearest, Random or Back, and in PrusaSlicer, OrcaSlicer and Bambu Studio you can paint the seam directly onto the model. How noticeable it is also depends on pressure advance, flow, wipe and the scarf seam."},{"t":"Lithophane","k":"Glossary · Use","d":"A thin image that only becomes visible against the light: thin areas let a lot of light through and look bright, thick ones look dark.","u":"/en/glossary/lithophane/","x":"lithophane Lithophane lithophanes Lithophanes For a lithophane, a photo is converted into a relief of varying thickness. Held in front of a light source, thin areas look bright and thick areas look dark, which produces a greyscale image. In 3D printing, online generators or functions in some slicers create the model directly from a photo, as a flat plate, curved, as a cylinder for lamps or as a sphere. Lithophanes are usually printed in white PLA with a small layer height and full infill, so that no infill patterns show through. Many guides recommend printing flat lithophanes upright, because the differences in thickness then come from movement in the plane instead of from the layer height."},{"t":"Resin (photopolymer)","k":"Glossary · Material","d":"The liquid printing material of resin printers: a synthetic resin that hardens under light. It produces very fine parts such as miniatures or jewellery models.","u":"/en/glossary/resin/","x":"Resin resin Resins resins photopolymer Photopolymer photopolymers Photopolymers Resin is a light-curing synthetic resin, a so-called photopolymer, which on hobby devices cures under light of around 405 nm. It consists largely of acrylates, that is, reactive plastic building blocks. Besides standard resin there are water-washable, tough (ABS-like), flexible, heat-resistant and castable burnout resins. Cold resin becomes viscous, and manufacturers usually recommend at least 20 °C, ideally around 25 to 30 °C. According to safety data sheets, liquid resin irritates the skin, eyes and airways and can trigger an allergy with repeated skin contact."},{"t":"MSLA","k":"Glossary · Processes","d":"The most common type of resin printer for home use: a screen lets light through only where the resin is to solidify in that layer.","u":"/en/glossary/msla/","x":"MSLA mSLA MSLA printer MSLA printers MSLA stands for masked stereolithography. A flat LED light source shines from below through a monochrome LCD, which acts as a mask and lets through only the cross-section of the current layer. Above it sits the resin vat with a transparent film bottom. Because the whole layer is exposed at once, print time depends mainly on the number of layers, not on the number of parts on the plate. Monochrome LCDs let more light through than colour displays and shorten exposure to as little as one to two seconds per layer in some cases. Figures such as 8K, 12K or 16K roughly describe the number of pixels along the long side of the display; the pixel size in micrometres is more meaningful."},{"t":"FEP film","k":"Glossary · Part","d":"The transparent film in the bottom of the vat of a resin printer. Light passes through it onto the resin, and each finished layer peels away from it again.","u":"/en/glossary/fep-film/","x":"FEP film FEP films FEP nFEP PFA film PFA films FEP stands for fluorinated ethylene propylene, a fluoroplastic with a smooth, non-stick surface, related to PTFE. The film is stretched taut in the vat frame and is translucent, so each cured layer stays on the build plate when the plate lifts and separates from the film. Besides FEP there are nFEP and PFA films, which suppliers advertise with lower peel forces. Deep scratches, dents, a permanent milky haze or holes scatter the light or let resin run onto the screen. In that case it is time to replace it. There are no fixed replacement intervals; what matters is the condition of the film."},{"t":"Exposure time","k":"Glossary · Setting","d":"How long each layer is illuminated in resin printing. Too short, and the layer does not solidify. Too long, and fine details fill in.","u":"/en/glossary/exposure-time/","x":"exposure time Exposure time exposure times Exposure times bottom exposure Bottom exposure Bottom Exposure Exposure time is the most important setting in resin printing and depends on the resin, colour, layer thickness, printer and temperature. On current mono LCD printers, normal layers often need only a few seconds. The first bottom layers are exposed many times longer so that the part sticks firmly to the build plate. Underexposure shows as supports snapping off, missing details or parts that stick to the film, overexposure as filled-in holes, swollen edges and oversized dimensions. You can find the right value with an exposure test from the slicer or from the resin manufacturer."},{"t":"Post-curing","k":"Glossary · Post-processing","d":"After washing, a resin part goes under UV light once more. Only then does it reach its full strength.","u":"/en/glossary/post-curing/","x":"post-curing Post-curing Post-Curing post-cure Post-cure post-cured A freshly printed resin part is not yet fully cured. During post-curing under UV light, in some stations with additional heat, the resin cross-links further and reaches the properties given in the datasheet. The part must be completely dry beforehand, Formlabs specifies at least 30 minutes, otherwise solvent is trapped and the part does not become properly solid. There is no general time, as it depends on the resin, the lamp and the part size. According to the resin manufacturer Power Resins, post-curing for too long makes the resin more brittle."},{"t":"Isopropyl alcohol (IPA)","k":"Glossary · Accessories","d":"An alcohol for cleaning. In resin printing it washes liquid resin off freshly printed parts, and in filament printing it degreases the print plate.","u":"/en/glossary/isopropyl-alcohol/","x":"isopropyl alcohol Isopropyl alcohol isopropanol Isopropanol IPA Isopropyl alcohol, chemically 2-propanol and IPA for short, is a solvent that dissolves uncured resin. For washing resin, Formlabs recommends at least 90 % purity, while Phrozen and Elegoo specify 95 %. Two baths work well: a pre-wash bath for most of the resin and a clean final-wash bath. The resin content rises with every wash. Used IPA with dissolved resin belongs in hazardous waste collection and never down the drain. IPA is highly flammable, and according to the safety data sheet its flash point is 12 °C, which is below room temperature."},{"t":"Bottom layers","k":"Glossary · Setting","d":"The first layers of a resin print. They are exposed for much longer than the rest so that the part holds firmly to the build plate.","u":"/en/glossary/bottom-layers/","x":"bottom layers Bottom layers Bottom Layers bottom layer Bottom layer Bottom Layer In resin printing, the part hangs upside down from the build plate and is peeled off the film at the bottom of the vat after every layer. For it to stay on the plate, adhesion there must be stronger than on the film. That is why the printer exposes the first layers with the bottom exposure, a multiple of the normal exposure time. You set the number and exposure time of the bottom layers in the slicer separately from the normal layers, and some slicers also offer transition layers whose exposure drops step by step to the normal value. The values depend heavily on the device, resin and colour. For the original Mars, for example, Elegoo gave 60 to 70 seconds for most colours and 90 seconds for black resin, while current devices with a stronger light source need much less. The resin manufacturer's settings table for your device is the authority."},{"t":"Drain holes","k":"Glossary · Setting","d":"A small hole in a hollow-printed resin part. Liquid resin drains from the inside through it, and air can flow in.","u":"/en/glossary/drain-holes/","x":"drain hole Drain hole drain holes Drain holes Drain Hole Drain Holes Large resin models are often hollowed out, which saves resin and weight. A closed cavity, however, traps liquid resin and air. Drain holes let the resin drain out, let air escape and let the washing liquid flush through the inside during washing. Formlabs gives 3.5 mm as the recommended minimum diameter and advises one hole as close to the build platform as possible and at least one more, with correspondingly more for several shell-shaped areas. Without drain holes, liquid resin stays trapped in the part, and trapped air can trigger the suction cup effect."},{"t":"Suction cup effect (cupping)","k":"Glossary · Failure pattern","d":"A resin printing fault: a shell-shaped part sticks to the film like a suction cup. When lifting, a hole often tears in the wall.","u":"/en/glossary/cupping/","x":"cupping Cupping suction cup effect Suction cup effect In resin printing, every layer is peeled off the film in the bottom of the vat. If the opening of a hollow or cup-shaped part faces the film, air is trapped inside. When the platform is lifted, negative pressure builds up inside and pulls thin walls inwards. Formlabs describes the consequences: holes or large torn areas in the walls, rough surfaces inside the cup and resin splashes in the printer when the suction cup releases from the film. According to Formlabs, whether it happens depends on the resin, the size of the cup, its shape and the wall thickness. Small cups or thicker walls often print fine anyway."},{"t":"Vat heating","k":"Glossary · Function","d":"A heater in the resin printer that keeps the resin in the vat warm. Warm resin flows better, which makes prints in cool rooms more reliable.","u":"/en/glossary/vat-heating/","x":"vat heating Vat heating heated vat Heated vat resin heating Resin heating Resin becomes viscous in the cold. Anycubic states that flowability decreases below 20 °C, and Phrozen gives temperatures below 20 °C as the limit at which prints fail. Vat heating warms the resin directly in the vat to a fixed or adjustable temperature. According to the manufacturer, the Elegoo Saturn 4 Ultra 16K heats the vat to 30 °C, the Anycubic Photon Mono M7 Pro and Photon P1 are adjustable from 20 to 40 °C, and the Formlabs Form 4 heats to 25 to 45 °C depending on the material. Other devices warm the interior instead of the vat, which manufacturers call chamber heating."},{"t":"Support tips (contact points)","k":"Glossary · Setting","d":"The thin upper end of a support in resin printing, that is, the spot where the support touches the model. Its size decides how firmly the part is held and how visible the marks are afterwards.","u":"/en/glossary/support-tips/","x":"support tip support tips Support tip Support tips contact point contact points Contact points touchpoints Touchpoints Resin supports consist of a base on the build plate, a trunk and a cone-shaped tip that touches the model at a small point. In the slicer you set the diameter of the tip, and often also how deep it penetrates the model. Small tips break off easily and leave smaller marks, but hold less. Formlabs writes that parts with contact points that are too small can fail during printing, and then recommends a higher support density. Phrozen names contact tips that are too small as one cause of supports tearing off. In PreForm they are called touchpoints, and the Adaptive Touchtip Diameter function adjusts their size to the model automatically."},{"t":"Photogrammetry","k":"Glossary · Processes","d":"A 3D model made from many ordinary photos: software calculates the shape from images that show the object from all sides.","u":"/en/glossary/photogrammetry/","x":"photogrammetry Photogrammetry In photogrammetry, an object is photographed from many directions. The software looks for common points in the images, uses them to work out the camera positions, and calculates the spatial position of each point from the sight lines of several images. Any camera or a smartphone with apps such as RealityScan, Polycam or KIRI Engine is enough, and All3DP mentions 50 to 1,000 images. The method is the cheapest but less accurate than scanners with their own light source, and it suits figures and artistic models better than precisely fitting replacement parts. Shiny, transparent and uniformly smooth surfaces offer too few features."},{"t":"LiDAR","k":"Glossary · Technology","d":"A sensor that measures distances using light. Smartphones and tablets use it to capture rooms and large objects quickly and roughly.","u":"/en/glossary/lidar/","x":"LiDAR Lidar LiDAR sensor LiDAR scanner LiDAR stands for Light Detection and Ranging. The sensor emits pulses of light and measures how long the light takes to reach the object and return, which gives the distance. On the iPhone Pro and iPad Pro it measures distances of up to 5 m according to Apple. This is fast but coarse: it is enough for rooms, furniture and large objects, but not for printable detailed models or spare parts."},{"t":"Structured light (fringe projection)","k":"Glossary · Processes","d":"A scanning method in which a pattern of stripes or dots is projected onto the object. From the distortion of the pattern, the scanner calculates the shape.","u":"/en/glossary/structured-light/","x":"structured light Structured light Structured Light structured-light fringe projection Fringe projection A projector casts a known pattern onto the object, and one or more cameras see how it bends on the surface. From the angle between projector and camera, the software calculates the distance of each point, a method called triangulation. Because many points are captured at once, structured light is fast and tolerates movement, which is why it is the most common technique in handheld scanners. Blue light is used for fine detail on small objects, while invisible infrared does not dazzle and suits scanning people. Ambient light can interfere."},{"t":"Reference markers","k":"Glossary · Accessories","d":"Small round adhesive dots that are stuck on or next to the object. They let the 3D scanner recognise how to stitch the individual scans together.","u":"/en/glossary/reference-markers/","x":"reference markers Reference markers reference marker marker points markers Markers Markers are small, usually round, high-contrast adhesive dots. The scanning software recognises them in every image and uses their positions relative to each other to align the individual captures. On smooth, uniform objects without features they help, and in laser mode they are mandatory with almost all scanners: Shining 3D states that the device emits no laser lines without detected markers. Shining 3D and Revopoint recommend an even but irregular distribution, and at least 4 to 5 markers must be in view at the same time."},{"t":"Point cloud","k":"Glossary · Data","d":"The raw result of a 3D scan: very many individual measurement points in space which together describe the surface of the object.","u":"/en/glossary/point-cloud/","x":"point cloud Point cloud point clouds Point clouds Every point in a point cloud has coordinates in X, Y and Z, often with a colour as well. A scan quickly consists of millions of points. A point cloud does not yet have a closed surface and cannot be printed as it is; only the software connects the points into a triangle mesh. Before that, you remove stray points, for example from the background, and align several scans with one another. A suitable exchange format is PLY, for example, which can store colour directly at each point."},{"t":"Mesh (triangle mesh)","k":"Glossary · Data","d":"The surface of a 3D model, made up of a great many small triangles. This is how STL, 3MF and OBJ files store their shape.","u":"/en/glossary/mesh/","x":"triangle mesh Triangle mesh triangle meshes polygon mesh polygon meshes meshes mesh format mesh formats mesh file mesh files A mesh describes a shape only through its surface: vertices connected into triangles. The more triangles, the smoother curves look and the larger the file becomes. For printing, a mesh must be closed, meaning without holes and without faces that intersect themselves, so that the slicer can tell inside from outside (known as manifold). A mesh is easy to print but hard to edit: enlarging a hole precisely is laborious in a mesh, but easy in a CAD format such as STEP. Scans first produce a point cloud, from which the software calculates a mesh."},{"t":"Gaussian splatting","k":"Glossary · Processes","d":"A way of representing 3D scans as many small, softly fading blobs of colour. It looks very realistic on screen but is not a model that can be printed directly.","u":"/en/glossary/gaussian-splatting/","x":"Gaussian Splatting Gaussian splatting Gaussian Splats Gaussian splats Gaussian Splat Gaussian splatting calculates a scene from many photos or a video, made up of a very large number of small, translucent ellipsoids, known as 3D Gaussians. Each has a position, shape, orientation, colour and opacity. As in photogrammetry, the starting point is the camera positions calculated from the images and a sparse point cloud. The method was presented in 2023 at SIGGRAPH by Bernhard Kerbl, Georgios Kopanas, Thomas Leimkühler and George Drettakis of Inria and the MPI Informatik. The result looks highly photorealistic and, according to the authors, runs in real time. It does not produce a closed surface of triangles, however, so you need a mesh for printing."},{"t":"Statutory warranty (legal guarantee)","k":"Glossary · Consumer purchase law","d":"Your statutory right against the seller if a purchased device already had a defect at handover. When buying from a retailer, it applies for two years.","u":"/en/glossary/statutory-warranty/","x":"statutory warranty Statutory warranty legal guarantee Legal guarantee legal warranty warranty rights The statutory warranty, called liability for defects (Mängelhaftung) in the law, is governed by sales law in the German Civil Code (BGB), supplemented by the rules on consumer goods sales for purchases by consumers from businesses. If the goods are defective on delivery, the buyer can first demand remedy, that is repair or replacement, and then, in some circumstances, withdrawal, a price reduction or damages. Under § 438 BGB, claims expire two years after delivery. For used goods, a business may shorten the period to one year for consumers. Under § 476 BGB this is only valid if the buyer was specifically informed before the purchase and the shortening is agreed expressly and separately in the contract. In private sales, the statutory warranty can be excluded entirely. The seller is always liable, never the manufacturer. This summary applies to German law and is not legal advice."},{"t":"Reversal of the burden of proof","k":"Glossary · Consumer purchase law","d":"A rule for your protection: if a defect appears at the retailer within the first year after purchase, it is presumed to have been present at the time of purchase. The retailer must prove otherwise.","u":"/en/glossary/burden-of-proof/","x":"reversal of the burden of proof Reversal of the burden of proof burden of proof As a rule, the buyer has to prove that the goods were already defective at handover. When a consumer buys from a business, § 477 BGB reverses this: if a defect appears within one year of the transfer of risk, usually the handover, the goods are presumed to have been defective at that point. The presumption does not apply if it is incompatible with the nature of the goods or of the defect. Until the end of 2021 the period was six months; since 1 January 2022 it is twelve. After that the statutory warranty continues, but the buyer has to prove themselves that the defect existed from the start. The reversal of the burden of proof does not apply to private sales. This summary applies to German law and is not legal advice."},{"t":"Manufacturer's warranty","k":"Glossary · Consumer purchase law","d":"A voluntary promise, usually from the manufacturer: if the device breaks within a certain time, it is repaired or replaced. What exactly applies is set by the warrantor.","u":"/en/glossary/warranty/","x":"manufacturer's warranty Manufacturer's warranty manufacturer warranty warranty Warranty warranties warranty terms A warranty (manufacturer's warranty) is an additional, voluntary commitment, regulated in section 443 of the German Civil Code (BGB). The warrantor can be the manufacturer, the seller or a third party. The warrantor decides the duration, scope and conditions, for example which parts are covered, whether proof of purchase is required and whether the warranty passes on when the device is resold. The statutory warranty towards the seller continues to apply alongside it. For consumers, the warranty statement must be provided on a durable medium at the latest on delivery under section 479 BGB. For maker devices, wear parts often have shorter periods: Anycubic, for example, gives 6 months of warranty on the display of the Photon Mono M7, and eufyMake gives 3 months on the E1 print head."},{"t":"Refurbished","k":"Glossary · Buying guide","d":"A used or returned device that is checked, repaired if necessary and sold again. What exactly is behind it is defined by each seller.","u":"/en/glossary/refurbished/","x":"Refurbished refurbished Refurbished is not a quality seal with fixed test requirements: each seller decides for itself what it checks, replaces and promises. Legally, a refurbished device is used goods. The Regional Court of Munich I ruled in 2018 (case no. 33 O 12885/17) that the word \"refurbished\" alone is not enough, and a retailer must state clearly that the item is used. As with other used goods, the seller may shorten the statutory warranty to one year if it says so before the purchase and agrees this separately. Among makers of maker devices, the terms differ widely: Formlabs gives refurbished SLA printers the same one-year warranty as new devices, xTool in its EU shop gives 24 months on the main parts according to the product page, and Atomstack gives 3 months."},{"t":"UV printing","k":"Glossary · Processes","d":"A printing process in which the ink becomes solid directly after application with UV light. This allows almost any surface to be printed, such as metal, wood, glass, acrylic or leather.","u":"/en/glossary/uv-printing/","x":"UV printing UV Printing UV printer UV printers An inkjet print head sprays tiny drops of UV-curing ink onto the material, and a UV LED next to the head cures them immediately. The ink does not soak in and does not need to dry, so the process also works on non-absorbent surfaces. Besides the CMYK colours, most devices use white ink as an underlayer on dark or transparent materials, and often varnish for gloss and relief. Common types are flatbed printers for flat objects, rotary attachments for bottles and mugs, and UV DTF for transfer stickers. On smooth surfaces such as glass, metal or some plastics, a primer is often needed so the ink holds permanently."},{"t":"UV DTF","k":"Glossary · Processes","d":"A design is printed onto a film with UV ink and then transferred to an object like a sticker. This also lets you decorate things that do not fit into the printer.","u":"/en/glossary/uv-dtf/","x":"UV DTF UV-DTF UV DTF transfer UV DTF transfers UV DTF stickers UV DTF printing DTF stands for Direct to Film. The printer applies colour, white ink and usually varnish to a carrier film (A-film) that already has an adhesive layer, and then a transfer film (B-film) is laminated over it. When applying, you peel off the A-film, press the design onto the object and remove the B-film, leaving only the print without a background. Suitable for curved or awkward objects such as mugs, helmets or tools. Adhesion and abrasion resistance are usually lower than with direct printing on a flatbed, but preparing the object is easier."},{"t":"Reverse glass printing","k":"Glossary · Technology","d":"The design is printed mirrored on the back of a glass or acrylic sheet. From the front, you then see it through the smooth pane, protected from scratches.","u":"/en/glossary/reverse-glass-printing/","x":"reverse glass printing Reverse glass printing back-of-glass printing second-surface printing reverse printing on glass The layer order is the reverse of normal UV printing: colours first, then white ink as an opaque backing layer so that the colours look strong from the front. The design must be mirrored in the software. Typical substrates are acrylic glass and glass, usually with primer on glass. Advantages are a glossy depth effect and a scratch-protected print side. If the white is left out in places, translucent areas result, for example for illuminated signs."},{"t":"UV ink","k":"Glossary · Ink","d":"The ink of a UV printer. It stays liquid until it is exposed to UV light and then solidifies within seconds.","u":"/en/glossary/uv-ink/","x":"UV ink UV inks UV-curable ink UV-curable inks UV inks consist of monomers, oligomers, pigments and photoinitiators. Under UV light of the right wavelength, the photoinitiators start a polymerisation, and the liquid ink cross-links into a solid film. There are hard inks with high scratch resistance for rigid materials and flexible (soft) inks for leather, films or bendable plastics. UV ink is light-sensitive, so store it away from light and observe the expiry date. Uncured ink can irritate the skin, so wear gloves and ensure ventilation."},{"t":"White ink","k":"Glossary · Ink","d":"Opaque white ink that is printed beneath the coloured inks. Without it, prints on dark or transparent materials would be pale or barely visible.","u":"/en/glossary/white-ink/","x":"white ink White ink white inks White inks White ink usually contains titanium dioxide as a pigment. It is heavy and settles in the tank, the tubes and the print head, which is why many machines have circulation or a stirrer for the white ink. If you do not use the printer for a longer time, you should move the ink regularly and run nozzle checks. White serves as a white underprint, as an opaque backing layer in reverse glass printing and as a base for relief. At the same time it is the ink that clogs nozzles most often."},{"t":"UV varnish","k":"Glossary · Ink","d":"A transparent ink laid over the print. It makes areas glossy, protects the colour or creates raised, tactile textures.","u":"/en/glossary/varnish/","x":"UV varnish varnish Varnish spot varnish Spot varnish gloss varnish Clear varnish is printed through its own channel like a colour and set up as its own layer in the software. Applied over the full area, it increases gloss and protects against abrasion. Printed selectively on individual areas (spot varnish), it sets accents, and several layers on top of each other produce tangible relief and texture effects. Whether varnish is possible depends on the machine: some printers have a dedicated channel for it, others share it with a colour. In UV DTF, varnish is often printed as well because it gives the transfer stability; whether it is needed depends on the machine and software."},{"t":"Primer (UV printing)","k":"Glossary · Accessories","d":"A thin, clear liquid that is wiped onto the material before printing. It ensures that the UV ink does not flake off smooth surfaces.","u":"/en/glossary/primer/","x":"primer Primer primers Primers UV primer adhesion primer Primer acts as an adhesion promoter between the substrate and the UV ink. It is needed mainly for glass, ceramic, metal, stainless steel and many plastics such as PP, PE or silicone, whereas on wood, leather or coated boards it is often not needed. There are primers for specific groups of materials, and the right type depends on the substrate. It is applied thinly with a lint-free cloth or sponge, and depending on the product the primer must then flash off for a few minutes. Degrease the substrate beforehand, for example with isopropyl alcohol. Some printers can also print primer through a separate channel."},{"t":"Flatbed printer","k":"Glossary · Design","d":"A UV printer with a flat support on which you place the object. The print head travels over it and prints on it directly.","u":"/en/glossary/flatbed-printer/","x":"flatbed printer Flatbed printer flatbed printers Flatbed printers flatbed UV printer UV flatbed printer flatbed Flatbed The object lies on a table, often held in place with vacuum suction or a jig. The inkjet print head moves in the X direction, the table or gantry moves in Y, and the height is adjusted to the object. Important specifications are the print area (around A4 to A3 on hobby machines) and the maximum object height. The distance between the head and the surface should be small, according to the manufacturers preferably under 1.5 to 2 mm, otherwise the print becomes blurred. With a rotary attachment, many flatbed printers can also print on round objects."},{"t":"Rotary attachment (UV printing)","k":"Glossary · Accessories","d":"An accessory that slowly rotates round objects such as bottles or mugs during printing. This makes it possible to print all the way round.","u":"/en/glossary/rotary-attachment/","x":"rotary printing Rotary printing rotary print cylinder printing The attachment is placed on the flatbed or replaces the printer's Y movement: instead of the table moving, the object turns on rollers or in a clamp. Roller supports suit cylindrical objects, and clamps with points also suit slightly conical mugs. With strongly conical shapes, the distance to the print head changes along the object, which leads to blurred edges. Diameter and length are limited depending on the model. The diameter in the software must be correct, otherwise the design will be squashed or stretched."},{"t":"Print head (inkjet)","k":"Glossary · Part","d":"The component of a UV printer that sprays the ink onto the material in tiny droplets. It has hundreds to thousands of fine nozzles.","u":"/en/glossary/inkjet-print-head/","x":"inkjet print head Inkjet print head inkjet print heads Inkjet print heads inkjet printhead inkjet printheads An inkjet print head has several rows of nozzles, and each row is assigned to one colour channel. The droplets are only a few picolitres in size, and many heads work with variable droplet size for finer gradients. UV printing almost always uses piezo print heads, and heads from Epson and Ricoh are common. The head is the most expensive wearing part: dried or cured ink clogs nozzles, and stray light from the UV lamp can cure ink on the nozzle plate. Regular cleaning and nozzle checks extend its life."},{"t":"Piezo print head","k":"Glossary · Part","d":"A type of print head in which a tiny component pushes the ink out of the nozzle using an electrical voltage, entirely without heat. That is why it is suitable for UV ink.","u":"/en/glossary/piezo-print-head/","x":"piezo print head Piezo print head piezo print heads Piezo print heads piezo printhead piezo printheads Piezo inkjet Piezo crystals deform when voltage is applied. This movement creates a pressure pulse in the ink chamber that ejects a droplet. The shape of the voltage curve (waveform) controls droplet size and speed. Unlike the thermal inkjet in office printers, the ink is not heated, which is why piezo heads can handle viscous UV inks. Well-known head series include Epson XP600, TX800, I1600 and I3200 as well as Ricoh Gen5 and Gen6, and they differ in nozzle count, speed and lifespan."},{"t":"LED UV curing","k":"Glossary · Technology","d":"The hardening of the ink under UV light. A lamp directly next to the print head cures every printed pass immediately.","u":"/en/glossary/led-uv-curing/","x":"LED UV curing UV curing UV-curing LED UV UV LED UV LEDs Hobby and small-business machines cure almost exclusively with UV LEDs, typically at a wavelength of 395 nm, less often 365 to 405 nm. Compared with older mercury vapour lamps, LEDs hardly get warm, need no warm-up time, produce no ozone and last much longer. If the lamp power is too low, the ink stays tacky and adheres worse. If it is too strong or scatters light towards the print head, ink cures onto the nozzle plate. Some machines first pin the ink lightly and then cure it fully, which gives smoother surfaces. UV light harms eyes and skin, so never look into the lamp unprotected."},{"t":"RIP software","k":"Glossary · Software","d":"The program that converts an image into exact print instructions for the UV printer. It determines where colour, white and varnish end up.","u":"/en/glossary/rip-software/","x":"RIP software RIP program RIP RIPs RIP stands for Raster Image Processor. The software converts image data into halftone dots for each ink channel, applies ICC profiles and generates the channels for white and varnish. This is where resolution, number of passes, print direction and ink amount are set. Many hobby devices come with their own simplified software; in commercial use, Maintop, Onyx, Caldera or Flexi are common, for example. The quality of the profiles and the halftoning often affects colour accuracy and banding more than the device does."},{"t":"ICC profile","k":"Glossary · Colour management","d":"A small file that describes how a device reproduces colours. It makes printed colours look as close as possible to those on the screen.","u":"/en/glossary/icc-profile/","x":"ICC profile ICC profiles colour profile colour profiles Colour profile Colour profiles An ICC profile maps colour values to a device-independent colour space, according to the standard of the International Color Consortium. For printing, a profile only ever applies to one combination of printer, ink, resolution, print mode and substrate, so a profile for white acrylic does not automatically suit wood. You create your own profiles by printing a test chart and measuring it with a spectrophotometer. The RIP software applies the profile during conversion. Without a suitable profile, prints often look too dark, flat or colour-tinted."},{"t":"White underbase","k":"Glossary · Technology","d":"A layer of white ink that is printed first and on which the colours then lie. It makes colours stand out on dark or transparent substrates.","u":"/en/glossary/white-underbase/","x":"white underbase White underbase white underprint white base layer UV inks are translucent, so they let the substrate show through. On white they look as intended, but on black, wood or metal they almost disappear. The white underbase is generated as its own channel in the software, usually automatically from the design, and can be offset slightly inwards so that no white edges show at the border. Opacity and number of layers control how strong the colours become. If the underbase is left out deliberately, the material shows through, which can be intended for wood or brushed metal."},{"t":"Relief and texture","k":"Glossary · Technology","d":"Many layers printed on top of each other create raised areas that you can feel, for example brush strokes, wood grain or Braille.","u":"/en/glossary/relief-printing/","x":"relief printing Relief printing relief prints relief print relief height Relief height texture printing Texture printing embossed printing Because UV ink cures immediately, each layer can build on the previous one. The height is usually created from white ink, varnish or both, with colour and optionally gloss varnish on top. The height is controlled with a greyscale map: depending on the software, light or dark areas receive more layers. Typical heights are fractions of a millimetre; with many passes, a few millimetres are possible depending on the machine. Print time increases with every layer, and the head distance must grow with it, otherwise the head drags across the print."},{"t":"Nozzle check","k":"Glossary · Maintenance","d":"A short test pattern that shows whether all nozzles of the print head are working cleanly. Missing lines mean that nozzles are clogged.","u":"/en/glossary/nozzle-check/","x":"nozzle check Nozzle check Nozzle Check nozzle checks nozzle test Nozzle test The printer prints a stair-step or grid pattern for each colour channel, in which each nozzle draws its own short line. Missing or crooked lines show clogged or deflected nozzles. Remedies are the printer's cleaning function, flushing with cleaning fluid or cleaning the capping station. A nozzle check belongs at the start of every printing day and after every cleaning. On a dark surface or film, white lines are easier to see than on white paper."},{"t":"Banding","k":"Glossary · Failure pattern","d":"Fine light or dark streaks across the print. They usually occur because nozzles are clogged or the printer is set incorrectly.","u":"/en/glossary/banding/","x":"Banding banding Banding appears as regular stripes in the print direction or across it. Common causes: failed nozzles, an incorrectly calibrated feed between passes, offset droplets in bidirectional printing, too large a head distance, or a print head that is not parallel to the table. The first step is always a nozzle check, followed by calibrating the feed and bidirectional alignment in the software. More passes or a finer print mode mask slight banding but cost time."},{"t":"Diode laser","k":"Glossary · Processes","d":"The cheapest and, among hobbyists, most common type of laser: small semiconductor chips produce blue light that engraves wood, leather or paper and cuts thin material.","u":"/en/glossary/diode-laser/","x":"diode laser Diode laser diode lasers Diode lasers laser diode laser diodes semiconductor laser Diode lasers use semiconductor laser diodes, in the hobby sector almost always with a wavelength of around 445 to 455 nm (visible blue). High-power modules combine several diodes, and 10 to 40 W of optical power is common at present. The beam spot is usually more rectangular than round and, depending on the module, about 0.1 to 0.2 mm in size. Wood, leather, cardboard and dark acrylic absorb blue light well, whereas clear and white acrylic, glass and bare metal hardly absorb it. As open gantry machines, almost all diode lasers fall into laser class 4."},{"t":"CO₂ laser","k":"Glossary · Processes","d":"A laser in which a gas mixture in a tube generates invisible infrared light. It cuts wood and acrylic very cleanly and also engraves glass and clear acrylic.","u":"/en/glossary/co2-laser/","x":"CO2 laser CO2 lasers CO₂ laser CO₂ lasers CO2 laser tube CO₂ laser tube laser tube laser tubes The CO₂ laser works with a gas mixture of carbon dioxide, nitrogen and helium and emits at 10,600 nm (10.6 µm) in the far infrared. In hobby and workshop machines, the gas sits in a glass tube of 40 to 150 W that is water-cooled. More expensive machines use cooled metal tubes (RF tubes), which allow finer engraving. The beam is steered to the head by three mirrors and focused there by a lens, with focal lengths of 1.5 to 4 inches (38.1 to 101.6 mm) being usual. Almost all organic materials and acrylic of any colour absorb 10.6 µm very well, while bare metal largely reflects it."},{"t":"Fibre laser","k":"Glossary · Processes","d":"A laser whose light is generated in a glass fibre. It is the standard for permanently marking and engraving metal.","u":"/en/glossary/fibre-laser/","x":"fibre laser Fibre laser fibre lasers Fibre lasers fiber laser Fiber laser fiber lasers In a fibre laser, a glass fibre doped with ytterbium is the laser medium, pumped by laser diodes. The wavelength is 1064 nm in the near infrared, which metals and many plastics absorb well. Marking lasers work in pulsed mode, typically with 20 to 100 W average power and pulse frequencies in the range of about 20 to 100 kHz for Q-switched sources. A galvo scanner almost always steers the beam, and the work area depends on the F-theta lens, often 110 × 110 mm to 300 × 300 mm. It handles wood and clear plastics only poorly."},{"t":"Infrared laser (1064 nm)","k":"Glossary · Processes","d":"A laser with invisible infrared light at 1064 nm. On hobby machines usually a small add-on module with which you mark metal and plastic.","u":"/en/glossary/infrared-laser/","x":"infrared laser Infrared laser infrared lasers IR laser IR lasers IR module IR modules infrared module Infrared module infrared modules This usually means compact modules with 1064 nm and about 1.5 to 2 W of optical power, sold as an add-on to a diode laser or built into combination machines. They use the same wavelength as fibre lasers but deliver only a fraction of their pulse power. They can mark and anneal stainless steel, brass, titanium and many plastics, but deep engraving or cutting metal is not possible. Because the light is invisible, the machines use a visible pilot beam for positioning. The module needs safety glasses made specifically for 1064 nm."},{"t":"MOPA","k":"Glossary · Design","d":"A special type of fibre laser in which the length of the light pulses can be adjusted. Among other things, this makes coloured marks on stainless steel possible.","u":"/en/glossary/mopa/","x":"MOPA MOPA laser MOPA lasers MOPA fibre laser A MOPA fibre laser separates the generation of the pulses (seed laser) from their amplification. This allows pulse duration and pulse frequency to be set independently, with common sources offering about 2 to 500 ns and 1 to 4000 kHz. A classic Q-switched fibre laser, by contrast, works with a largely fixed pulse duration of around 100 to 200 ns. Short pulses generate less heat in the material, which allows clean marks on plastic, black marks on anodised aluminium and controlled annealing colours on stainless steel. As with a regular fibre laser, the wavelength is 1064 nm."},{"t":"Galvo","k":"Glossary · Design","d":"A design in which the laser head stands still and two small, very fast mirrors steer the beam across the material. This is many times faster than a moving head.","u":"/en/glossary/galvo/","x":"Galvo galvo galvo laser Galvo laser galvo lasers galvo scanner Galvo scanner galvanometer scanner galvo head A galvo scanner consists of two mirrors on galvanometer motors, one steering in X and one in Y. Because only the light mirrors move, marking speeds of several thousand mm/s are possible, and hobby devices often quote 3000 to 10,000 mm/s. An F-theta lens keeps the focus in one plane across the whole field. This limits the work area, typically 100 × 100 mm to 300 × 300 mm, as larger fields mean a larger focus spot. Galvos are standard on fibre lasers and are increasingly found on diode and CO₂ machines too."},{"t":"Laser power","k":"Glossary · Setting","d":"How strong the laser is, given in watts. What matters is whether the figure means the light power emitted or only the power consumption.","u":"/en/glossary/laser-power/","x":"laser power Laser power optical power Optical power optical output power output power Output power Optical power states how much light power actually comes out of the laser head. Electrical power is the module's power consumption; with diode lasers, the optical power is often only a quarter to a third of it. In the past, some sellers advertised 20 or 40 W, meaning the electrical input, while only about 5 to 10 W came out optically. For CO₂ tubes, the rated power counts as the maximum optical power, and in continuous operation you should usually use only 70 to 80% of it. In the software you set the power as a percentage of maximum power; together with the speed, this gives the energy per area."},{"t":"Focus (laser)","k":"Glossary · Setting","d":"The point at which the lens focuses the laser beam most tightly. Only there is the beam small and strong enough for clean engravings and cuts.","u":"/en/glossary/laser-focus/","x":"focal point Focal point focal length Focal length focal lengths focus distance focal distance focus height laser focus focal spot The focal length is the distance between the lens and the focal point. For CO₂ lasers, lenses of 1.5, 2, 2.5 and 4 inches are common (38.1 to 101.6 mm), and 2 inches is regarded as the all-rounder. Short focal lengths produce a smaller spot for fine engraving but have a shallow depth of field, while long focal lengths have a larger spot and stay in focus over thicker material. Diode modules usually have a fixed lens, and the distance to the material is set with a distance gauge, by measurement or with autofocus. When cutting thick sheets, the focus is often placed slightly inside the material, frequently at about a third to a half of the thickness."},{"t":"Air assist","k":"Glossary · Accessories","d":"An airflow that blows onto the work spot directly at the laser head. It blows away smoke and flames and gives cleaner cuts.","u":"/en/glossary/air-assist/","x":"air assist Air assist Air Assist air-assist Air-assist A pump or compressor blows air through a nozzle on the laser head onto the cutting point. This removes smoke and particles from the beam path, cools the cut edge, prevents open flames and protects the lens from deposits. For diode lasers, 10 to 30 l/min is common, while CO₂ machines often work with significantly more air or a workshop compressor. High airflow makes sense for cutting, while engraving usually needs less so that the smoke plume does not spread across the surface. Many controllers switch air assist on and off automatically for each layer."},{"t":"Honeycomb bed","k":"Glossary · Accessories","d":"A support made of thin metal in a honeycomb shape on which the material is placed. After the cut, the beam can pass downwards instead of scorching the underside.","u":"/en/glossary/honeycomb-bed/","x":"honeycomb bed Honeycomb bed honeycomb beds honeycomb table honeycomb panel Honeycomb honeycomb The honeycomb bed consists of an aluminium or steel grid with hexagonal cells, often about 5 to 10 mm across and 20 to 25 mm high. Because the workpiece rests only on the thin edges, smoke can be drawn downwards and the beam passing through is scattered instead of reflected back. This reduces burn marks and back reflections on the underside. When focusing, the height of the honeycomb bed must be taken into account. For metal materials on a steel honeycomb, workpieces can be fixed with magnets."},{"t":"Kerf","k":"Glossary · Technology","d":"The width of the material the laser burns away when cutting. It decides whether slot joints and puzzle pieces fit together precisely.","u":"/en/glossary/kerf/","x":"kerf Kerf kerf compensation kerf offset kerf width cut width Kerf is the width of the cut. It depends on the focus spot, power, speed, material thickness and the material itself. With hobby lasers it is typically between about 0.1 and 0.3 mm in wood and acrylic. Because the beam is cone-shaped, the cut in thick sheets is often wider at the top than at the bottom. Without compensation, outer contours come out smaller by half the kerf and holes come out larger by half the kerf. In the software you compensate with a kerf offset, which shifts the path outwards or inwards by half the value."},{"t":"Line interval","k":"Glossary · Setting","d":"The distance between the lines that the laser runs side by side when engraving an area. Smaller intervals give denser, darker areas.","u":"/en/glossary/line-interval/","x":"line interval Line interval Line Interval line spacing LPI lines per inch Lines per Inch In area engraving, the laser scans the area line by line. The line interval sets how far apart the lines are, given in millimetres (line interval) or as lines per inch (LPI). The conversion is 25.4 mm divided by LPI, so 254 LPI corresponds to 0.1 mm. For diode lasers, 0.05 to 0.1 mm is common. For photo engravings, you base the interval on the spot size so that lines neither overlap heavily nor leave gaps. In LightBurn, the value for images is shown as DPI; it is 25.4 divided by the line interval in millimetres."},{"t":"Passes","k":"Glossary · Setting","d":"How often the laser traces the same path. Several passes at lower power cut thicker material more cleanly than a single pass that is too strong.","u":"/en/glossary/passes/","x":"passes Passes pass count Pass Count number of passes For each layer, you set in the software how often the path is repeated. Each pass removes some material until the sheet is cut through. Several faster passes often produce fewer burn marks than one slow pass, because the material cools in between and the smoke clears. With thick sheets, the focus can be lowered for each pass (Z step), usually by a fraction of the material thickness. With diode lasers, 2 to 6 passes are normal for 6 to 10 mm of wood, depending on power."},{"t":"Laser classes","k":"Glossary · Technology","d":"A classification of how dangerous a laser is for eyes and skin. It ranges from class 1 (harmless in normal operation) to class 4 (very dangerous).","u":"/en/glossary/laser-classes/","x":"laser class Laser class laser classes Laser classes laser safety class laser safety classes The laser classes are defined in the standard DIN EN 60825-1: 1, 1M, 2, 2M, 3R, 3B and 4. For visible continuous-wave lasers, roughly: class 2 up to 1 mW, 3R up to 5 mW, 3B up to 500 mW, class 4 above that. Class 4 can damage the eyes even through scattered reflections, burn skin and start fires. Open engraving lasers with several watts are therefore class 4. Enclosed devices can be classified as class 1 if the enclosure shields the beam completely and safety switches turn the laser off when it is opened."},{"t":"Laser safety glasses","k":"Glossary · Accessories","d":"Special glasses that block exactly the light of your laser. They protect only if they match the wavelength and filter strongly enough.","u":"/en/glossary/laser-safety-glasses/","x":"laser safety glasses Laser safety glasses laser safety goggles safety goggles Safety goggles optical density Optical density Laser safety glasses filter a specific wavelength range. How strongly is given by the optical density (OD): OD 4 lets through 1/10,000, OD 5 only 1/100,000. For diode lasers around 450 nm with several watts, OD 5 or more is usually recommended, and 1064 nm and 10,600 nm each need their own filters. In Europe, laser safety glasses are tested to EN 207 and marked with the mode of operation, wavelength and protection level, for example \"D 445 LB5\". The LB protection level roughly corresponds to the optical density, but it also takes into account how long the filter withstands the beam."},{"t":"Fume extraction (laser)","k":"Glossary · Accessories","d":"A fan with a hose that draws the smoke out of the machine during lasering, to the outside or through a filter. Without extraction, smoke and harmful substances end up in the room air.","u":"/en/glossary/fume-extraction/","x":"fume extraction Fume extraction fume extractor Fume extractor fume extractors smoke extraction exhaust hose Laser work produces smoke, fine dust, odours and, depending on the material, harmful gases. Fume extraction pulls these out of the enclosure or housing, either through an exhaust hose to the outside or through a filter unit. Filter units usually work in several stages, with a pre-filter, a HEPA filter for fine dust and activated carbon for gases and odours. For hobby devices, exhaust fans of around 200 to 500 m³/h are common, and a slight negative pressure in the enclosure is important. Activated carbon becomes saturated and must be replaced regularly, especially with wood containing a lot of resin or glue."},{"t":"LightBurn","k":"Glossary · Software","d":"A widely used program for designing and controlling laser engravers. It runs with many devices from different manufacturers.","u":"/en/glossary/lightburn/","x":"LightBurn Lightburn LightBurn is layout, editing and control software for lasers that communicates directly with the device's controller. The Core licence (99 US dollars) supports G-code based controllers such as GRBL, Marlin and Smoothieware, typical for diode lasers. The Pro licence (199 US dollars) additionally supports DSP controllers such as Ruida, TopWisdom and Trocen, which are found in many CO₂ lasers, as well as galvo controllers. Both licences are perpetual and include one year of updates; after that, renewal costs 40 US dollars per year. The software runs on Windows and macOS, and there is a free trial."},{"t":"Dithering","k":"Glossary · Technology","d":"A process in which a laser reproduces greyscale from dots. Because it usually only knows \"burn\" or \"don't burn\", the grey tone is created by the density of the dots.","u":"/en/glossary/dithering/","x":"Dithering dithering dithered Floyd-Steinberg Many lasers can only render two states cleanly per dot. Dithering converts a greyscale image into a pattern of black and white dots whose density simulates brightness. Common algorithms are Floyd-Steinberg (1976), Jarvis and Stucki, which spread the error of each rounding to neighbouring dots, as well as ordered patterns and halftones. LightBurn offers the modes Threshold, Ordered, Atkinson, Dither, Stucki, Jarvis, Newsprint, Halftone and Grayscale, among others. The quality depends strongly on a suitable line interval: it should be roughly the same as the spot size of the laser."},{"t":"Rotary axis (laser)","k":"Glossary · Accessories","d":"An add-on device that rotates round objects such as mugs, bottles or pens under the laser. This lets you engrave all the way round.","u":"/en/glossary/rotary-axis/","x":"rotary axis Rotary axis rotary axes rotary attachment Rotary attachment rotary attachments rotary module Rotary module rotary roller chuck rotary Rotary The rotary axis usually replaces the laser's Y axis: instead of the head moving back and forth, the workpiece rotates. Roller rotaries support the part on two driven rollers and suit evenly round mugs and bottles. Chuck rotaries clamp the part like a lathe and also cope with tapered or irregular shapes such as wine glasses and rings. In the software you enter the diameter of the workpiece or the steps per revolution, otherwise the design is squashed or stretched. With galvo lasers, the axis usually works in steps, section by section."},{"t":"Laser marking (annealing)","k":"Glossary · Technology","d":"In marking, the laser only changes the colour of the surface without removing any significant material. In annealing, heat turns stainless steel dark or colourful.","u":"/en/glossary/laser-marking/","x":"laser marking Laser marking annealing Annealing annealing colours colour marking Colour marking marking spray Marking spray Marking is an umbrella term for processes that discolour the surface but hardly remove any material. In annealing, the laser heats the metal surface well below its melting point without melting it. A thin oxide layer grows on the surface and, depending on its thickness, appears yellow, brown, purple, blue or black. The surface stays smooth, which is why annealing is often used for medical technology and tools. Annealing marks need high energy density at slow speed and a small line interval, typically with fibre or IR lasers at 1064 nm. Diode and CO₂ lasers can only mark bare metal with marking spray, which is burnt onto the surface."},{"t":"Sublimation (sublimation printing)","k":"Glossary · Processes","d":"A process in which a printed design is transferred with heat into polyester or coated blanks. The colour then sits in the material and cannot be felt.","u":"/en/glossary/sublimation/","x":"sublimation Sublimation sublimation printing Sublimation printing sublimation printer sublimation printers sublimation ink sublimation paper dye sublimation A printer with sublimation ink prints the design mirrored onto sublimation paper. In the heat press the ink turns into a gas and bonds with polyester fibres or a polymer coating; Sawgrass gives 205 °C and 45 seconds as a starting value for polyester fabric. The result does not crack and does not wash out. It only works on polyester, for which Cricut gives at least 75%, and on coated blanks such as mugs, tiles or aluminium panels. Because the ink is translucent, only white or light-coloured substrates are suitable."},{"t":"DTF (Direct to Film)","k":"Glossary · Processes","d":"A textile printing method: the design is printed onto a film, sprinkled with hot-melt powder and then transferred to the fabric with the heat press.","u":"/en/glossary/dtf/","x":"DTF Direct to Film Direct-to-Film direct to film DTF printing DTF printer DTF printers DTF transfer DTF transfers A DTF printer prints the design mirrored onto PET film, first the colours (CMYK), then an opaque white layer on top. Hot-melt TPU powder is applied to the still wet ink and sticks only to the ink. Heat melts the powder; xTool gives 160 to 180 °C for 2 to 3 minutes for the oven. The transfer is then pressed onto the textile and the carrier film is peeled off. DTF holds without pretreatment on cotton, polyester and blends, light or dark, but needs powder, curing and extraction, and according to Sign Warehouse daily care of the white ink."},{"t":"DTG (Direct to Garment)","k":"Glossary · Processes","d":"A textile print in which a special inkjet printer prints the design directly onto the garment, with no film or paper in between.","u":"/en/glossary/dtg/","x":"DTG Direct to Garment Direct-to-Garment direct to garment DTG printing DTG printer DTG printers In DTG printing, the textile lies flat in the printer, and the printer prints textile ink directly onto the fabric. Cotton is the most suitable. For dark textiles and wherever white is printed, the fabric needs pretreatment: it stops the ink from sinking in and ensures that the white ink holds. Pretreatment and the finished print are fixed with a heat press or a conveyor dryer."},{"t":"Flex film (HTV)","k":"Glossary · Material","d":"A film for ironing onto textiles. A cutting plotter cuts out the design, which is then pressed onto the fabric with heat.","u":"/en/glossary/htv/","x":"HTV flex film Flex film heat transfer vinyl Heat transfer vinyl Heat Transfer Vinyl iron-on vinyl iron-on film Flex film, known in English as heat transfer vinyl (HTV), consists of polyurethane or PVC, is typically 20 to 100 µm thick and has a hot-melt adhesive on the back and a transparent carrier film on top. The plotter cuts only the colour layer, not the carrier. The excess material is then weeded and the design is applied with a heat press or iron; for Siser EasyWeed, 150 °C for 10 to 15 seconds is specified. Each colour is a separate film layer, so photos and colour gradients are not possible. Besides smooth flex film, there are flock, glitter and metallic films."},{"t":"Weeding","k":"Glossary · Step","d":"After plotting, remove the excess film material around the design so that only the design remains on the carrier.","u":"/en/glossary/weeding/","x":"weeding Weeding weeding hook weeding tool With vinyl, a cutting plotter cuts only the colour layer and the carrier stays intact. The material between and around letters or shapes still holds together like a grid afterwards. When weeding, you peel it away and remove small inner pieces, for example in the letters a, e or o, with a weeding hook or tweezers. The finer and more detailed the design, the more work this is."},{"t":"Cutting mat","k":"Glossary · Accessories","d":"A carrier board with a slightly sticky surface on which the material is placed for the cutting plotter so that it does not shift during cutting.","u":"/en/glossary/cutting-mat/","x":"cutting mat Cutting mat cutting mats Cutting mats The mat holds paper, card, fabric or film in position without a rigid carrier of its own while the plotter feeds it in and the blade cuts. Cricut offers mats with different levels of tack, as well as dedicated mats for fabric. Without a mat, Cricut machines cut only Smart Materials, and the Silhouette Cameo 5α cuts material with a carrier sheet up to 4.87 m. With a mat, its size limits the cutting length, to about 30 × 60 cm on the Maker 5 and Explore 5. The tack wears off over time."},{"t":"Print then Cut","k":"Glossary · Function","d":"Print first, then cut: a normal printer prints the design with marks, then the plotter cuts it out along the contours.","u":"/en/glossary/print-then-cut/","x":"Print then Cut Print Then Cut print then cut Print & Cut Print and Cut An inkjet printer prints the design together with registration marks at the edge. The plotter reads these marks with an optical sensor, detects the exact position of the sheet and cuts along the contours. This produces coloured stickers, labels and tags. Cricut calls the function Print Then Cut, Silhouette calls it Print & Cut. The possible design size is limited because the marks need space at the edge; the exact dimensions depend on the software and paper size."},{"t":"Rub-on (transfer)","k":"Glossary · Material","d":"A design on a carrier sheet that is transferred to a surface by firm rubbing. Only the design is left behind, without a visible film edge.","u":"/en/glossary/rub-on/","x":"Rub-on Rub-ons rub-on rub-ons Rub-On Rub-Ons rub-on transfer rub-on transfers rub-on stickers With a rub-on, the design sits on a carrier sheet with an adhesive layer. You place it down, rub firmly over it with a squeegee, spatula or wooden stick, and slowly peel off the carrier. The principle became known through rub-on lettering; Letraset released its dry-transfer system in 1961. Today rub-ons are available as craft sheets, and UV DTF transfers are also applied this way without heat. They are suitable for smooth, hard surfaces such as glass, wood, plastic or paper."},{"t":"Heat press","k":"Glossary · Device","d":"A device with a heated platen that transfers flex film, sublimation or DTF transfers onto textiles or blanks using temperature, time and pressure.","u":"/en/glossary/heat-press/","x":"heat press Heat press heat presses Heat presses transfer press transfer presses A heat press works with three variables: temperature, time and pressure. The right values are in the instructions for the transfer or film, not in the press; typical values are around 150 °C for flex film and 205 °C for sublimation on polyester fabric. Iron-style presses such as the Cricut EasyPress are small and inexpensive, but you apply the pressure yourself by hand. Clamshell and automatic presses set the pressure evenly, which helps with batches and reproducible results. Mug presses are made for straight mugs of specific sizes."},{"t":"Creality: all 3D printers","k":"Manufacturer","d":"Creality from Shenzhen is one of the largest manufacturers of consumer 3D printers and shaped affordable entry into FDM printing with the Ender series. Under the sub-brand Creality","u":"/en/3d-printing/printers/brands/creality/"},{"t":"Bambu Lab: all 3D printers","k":"Manufacturer","d":"Bambu Lab is the youngest of the big Chinese 3D printer manufacturers and, according to media reports, is now the market leader in consumer 3D printers. The devices are considered ","u":"/en/3d-printing/printers/brands/bambu-lab/"},{"t":"Elegoo: all 3D printers","k":"Manufacturer","d":"Elegoo is a manufacturer from Shenzhen that began with electronics learning kits and today mainly sells low-cost resin printers (Mars, Saturn, Jupiter) and FDM printers (Neptune, C","u":"/en/3d-printing/printers/brands/elegoo/"},{"t":"Prusa Research: all 3D printers","k":"Manufacturer","d":"Prusa Research is a Czech manufacturer of FDM and resin printers with headquarters and production in Prague. The company grew out of the open RepRap project, develops its own slice","u":"/en/3d-printing/printers/brands/prusa/"},{"t":"Anycubic: all 3D printers","k":"Manufacturer","d":"Anycubic, based in Shenzhen, builds FDM and resin printers and is one of the four Chinese manufacturers that cover most of the entry-level market. The brand is best known for affor","u":"/en/3d-printing/printers/brands/anycubic/"},{"t":"QIDI Tech: all 3D printers","k":"Manufacturer","d":"QIDI Tech is a manufacturer from Zhejiang province that has specialised in enclosed FDM printers with a heated chamber for engineering filaments (X-Max 3, Q1 Pro, Plus4, Q2, Max4).","u":"/en/3d-printing/printers/brands/qidi/"},{"t":"Snapmaker: all 3D printers","k":"Manufacturer","d":"Snapmaker from Shenzhen became known through Kickstarter for its modular 3-in-1 machines (3D printing, laser, CNC) and today also builds the Ray laser and the U1 multi-head printer","u":"/en/3d-printing/printers/brands/snapmaker/"},{"t":"Flashforge: all 3D printers","k":"Manufacturer","d":"Flashforge (Zhejiang Flashforge 3D Technology) is one of the oldest Chinese 3D printer manufacturers and builds entry-level machines such as the Adventurer series (Adventurer 5M, A","u":"/en/3d-printing/printers/brands/flashforge/"},{"t":"Sovol: all 3D printers","k":"Manufacturer","d":"Sovol is a smaller manufacturer from Shenzhen that builds inexpensive printers based on well-known open designs, such as the SV06 modelled on the Prusa i3 MK3S+ and the SV08 modell","u":"/en/3d-printing/printers/brands/sovol/"},{"t":"Phrozen: all 3D printers","k":"Manufacturer","d":"Phrozen is a Taiwanese manufacturer of LCD resin printers (Sonic series: Mini, Mighty, Mega) along with its own resins, washing and curing accessories, and since 2025 also an FDM p","u":"/en/3d-printing/printers/brands/phrozen/"},{"t":"Formlabs: all 3D printers","k":"Manufacturer","d":"Formlabs is a US manufacturer of SLA resin printers (Form series) and SLS powder printers (Fuse series), together with its own resins, wash and cure stations and the free software ","u":"/en/3d-printing/printers/brands/formlabs/"},{"t":"3DMakerpro: all 3D printers","k":"Manufacturer","d":"3DMakerpro is the international brand of the Chinese manufacturer Shenzhen Jimuyida Technology and offers 3D scanners for hobbyists and businesses, from small desktop and handheld ","u":"/en/3d-printing/printers/brands/3dmakerpro/"},{"t":"Revopoint: all 3D printers","k":"Manufacturer","d":"Revopoint is a Chinese manufacturer of 3D scanners, known mainly for the affordable handheld scanners of the POP and MINI series and the wireless standalone scanner MIRACO. The bra","u":"/en/3d-printing/printers/brands/revopoint/"},{"t":"Einstar: all 3D printers","k":"Manufacturer","d":"Einstar is the consumer brand of the Chinese 3D scanning specialist SHINING 3D and offers handheld scanners for hobbyists and small businesses, including Einstar, Einstar 2, the st","u":"/en/3d-printing/printers/brands/einstar/"},{"t":"xTool: all lasers","k":"Manufacturer","d":"xTool is a brand of the Shenzhen company Makeblock and, according to its own stock exchange prospectus, the global market leader in laser engravers for private users and small busi","u":"/en/laser/machines/brands/xtool/"},{"t":"Creality: all lasers","k":"Manufacturer","d":"Creality from Shenzhen is one of the largest manufacturers of consumer 3D printers and shaped affordable entry into FDM printing with the Ender series. Under the sub-brand Creality","u":"/en/laser/machines/brands/creality/"},{"t":"Sculpfun: all lasers","k":"Manufacturer","d":"Sculpfun is a Chinese manufacturer of diode laser engravers, known mainly for open gantry machines of the S series (S9, S30, SF-A9) in the low to mid price range. The brand has a G","u":"/en/laser/machines/brands/sculpfun/"},{"t":"Atomstack: all lasers","k":"Manufacturer","d":"Atomstack (Shenzhen AtomStack Technologies) is a Chinese manufacturer of diode, infrared and fibre lasers for hobby and small business use, with a wide range from inexpensive open ","u":"/en/laser/machines/brands/atomstack/"},{"t":"Ortur: all lasers","k":"Manufacturer","d":"Ortur is a manufacturer of diode laser engravers from Dongguan in southern China, best known for the Laser Master series and the more affordable sub-brand Aufero. The official shop","u":"/en/laser/machines/brands/ortur/"},{"t":"Acmer: all lasers","k":"Manufacturer","d":"Acmer (Acmer Laser) is a still young Chinese manufacturer of diode, CO2 and fibre lasers, from small devices like the S1 to the large 3-in-1 machine X1 with laser and CNC router. F","u":"/en/laser/machines/brands/acmer/"},{"t":"Longer: all lasers","k":"Manufacturer","d":"Longer (Shenzhen Longer 3D Technology) is a Chinese manufacturer that began with resin and FDM 3D printers and now mainly offers laser engravers such as the Ray5 and, since 2026, t","u":"/en/laser/machines/brands/longer/"},{"t":"LaserPecker: all lasers","k":"Manufacturer","d":"LaserPecker is the laser engraver brand of Shenzhen Hingin Technology and specialises in compact, portable devices that are often controlled via an app. The brand grew large throug","u":"/en/laser/machines/brands/laserpecker/"},{"t":"Bambu Lab: all lasers","k":"Manufacturer","d":"Bambu Lab is the youngest of the big Chinese 3D printer manufacturers and, according to media reports, is now the market leader in consumer 3D printers. The devices are considered ","u":"/en/laser/machines/brands/bambu-lab/"},{"t":"Snapmaker: all lasers","k":"Manufacturer","d":"Snapmaker from Shenzhen became known through Kickstarter for its modular 3-in-1 machines (3D printing, laser, CNC) and today also builds the Ray laser and the U1 multi-head printer","u":"/en/laser/machines/brands/snapmaker/"},{"t":"WeCreat: all lasers","k":"Manufacturer","d":"WeCreat is a young manufacturer of laser engravers for beginners and small businesses, which started in 2023 with the enclosed diode laser WeCreat Vision. The brand was founded by ","u":"/en/laser/machines/brands/wecreat/"},{"t":"ComMarker: all lasers","k":"Manufacturer","d":"ComMarker is a Chinese manufacturer from Hefei that specialises in compact fibre lasers (B series) and UV lasers (Omni series) for hobbyists and small businesses. Several devices w","u":"/en/laser/machines/brands/commarker/"},{"t":"OMTech: all lasers","k":"Manufacturer","d":"OMTech is a US supplier of CO2 and fibre lasers whose devices are made in China. The brand emerged in 2020 from Orion Motor Tech, which became known mainly for the affordable K40. ","u":"/en/laser/machines/brands/omtech/"},{"t":"Thunder Laser: all lasers","k":"Manufacturer","d":"Thunder Laser is a Chinese manufacturer of CO2 lasers from Dongguan that positions itself in the upper hobby and the commercial segment with the Nova, Bolt and Titan series. In Ger","u":"/en/laser/machines/brands/thunder-laser/"},{"t":"Gweike: all lasers","k":"Manufacturer","d":"Gweike is a large Chinese manufacturer of industrial lasers from Jinan that has been building laser cutting systems since 2004. Under the name Gweike Cloud, the company has sold de","u":"/en/laser/machines/brands/gweike/"},{"t":"Monport: all lasers","k":"Manufacturer","d":"Monport is an online seller of CO2, fibre and UV lasers with a registered office in Seattle (USA). The company does not disclose where the devices are made; user forums assume prod","u":"/en/laser/machines/brands/monport/"},{"t":"Carverall: all lasers","k":"Manufacturer","d":"Carverall is a young Chinese laser brand that offers diode lasers, diode galvos, fibre, UV and CO₂ lasers for makers, small studios and educational institutions. According to its t","u":"/en/laser/machines/brands/carverall/"},{"t":"eufyMake: all UV printers","k":"Manufacturer","d":"eufyMake is the creative devices brand of Anker Innovations and, with the E1, offers a UV printer for private users and small businesses. In 2025 the E1 became the highest-funded K","u":"/en/uv-printing/printers/brands/eufymake/"},{"t":"Procolored: all UV printers","k":"Manufacturer","d":"Procolored builds compact UV, UV DTF, DTF and DTG printers for home users, small businesses and print on demand. The devices use Epson print heads and are sold mainly directly thro","u":"/en/uv-printing/printers/brands/procolored/"},{"t":"xTool: all UV printers","k":"Manufacturer","d":"xTool is a brand of the Shenzhen company Makeblock and, according to its own stock exchange prospectus, the global market leader in laser engravers for private users and small busi","u":"/en/uv-printing/printers/brands/xtool/"},{"t":"Longer: all UV printers","k":"Manufacturer","d":"Longer (Shenzhen Longer 3D Technology) is a Chinese manufacturer that began with resin and FDM 3D printers and now mainly offers laser engravers such as the Ray5 and, since 2026, t","u":"/en/uv-printing/printers/brands/longer/"},{"t":"Epson: all UV printers","k":"Manufacturer","d":"Epson (Seiko Epson Corporation) is a listed Japanese technology group and one of the largest manufacturers of inkjet printers and printheads. In the UV segment, Epson offers the Su","u":"/en/uv-printing/printers/brands/epson/"},{"t":"Enclosed 3D printers: pros, cons, all models","k":"Overview","d":"Enclosed 3D printers for ABS, ASA and engineering filaments: pros and cons compared with open printers, all models with data and prices.","u":"/en/3d-printing/printers/enclosed/","x":"An enclosed 3D printer has an enclosure around the build volume. This keeps the heat from the print bed inside, stops draughts reaching the print, and allows odours to be filtered. For PLA and PETG you do not need an enclosure. For ABS, ASA, nylon and PC, however, it is almost a must."},{"t":"Open 3D printers: pros, cons, all models","k":"Overview","d":"Open 3D printers without an enclosure: affordable, easy to access and ideal for PLA, PETG and TPU. Pros, cons and all models with data and prices.","u":"/en/3d-printing/printers/open-frame/","x":"Open 3D printers have no enclosure. They are usually cheaper, lighter and easy to access if you want to check or adjust something during printing. They are perfectly adequate for PLA, PETG and TPU. Materials that warp heavily as they cool are harder to print on them."},{"t":"CoreXY 3D printers at a glance","k":"Overview","d":"All CoreXY 3D printers in the wiki: a fast design in which only the print head moves and the bed lowers.","u":"/en/3d-printing/printers/corexy/","x":"On CoreXY printers, only the light print head moves across the area, while the build plate lowers layer by layer. This allows high speeds and keeps tall, slender parts stable. The cube-shaped design is easy to enclose, which is why most enclosed printers are CoreXY printers."},{"t":"Bed slinger 3D printers at a glance","k":"Overview","d":"All 3D printers with a moving print bed (bed slingers) in the wiki: affordable, simple and ideal for getting started.","u":"/en/3d-printing/printers/bed-slingers/","x":"On a bed slinger, the print plate moves back and forth while the print head moves left, right and up. The design is simple and affordable. Modern machines are still surprisingly fast. There are limits with very tall, slender parts and with enclosing the printer."},{"t":"Multicolour 3D printers at a glance","k":"Overview","d":"All 3D printers in the wiki that handle several colours or materials in one print, with a multicolour system, several nozzles or a tool changer.","u":"/en/3d-printing/printers/multicolour/","x":"There are three ways to print in multiple colours: with an add-on device that switches between several spools, with two nozzles, or with a tool changer that has several complete printheads. The systems differ mainly in how much material and time each colour change costs."},{"t":"Heated-chamber 3D printers at a glance","k":"Overview","d":"All 3D printers in the wiki with an actively heated or regulated chamber: the right choice for nylon, PC and large parts made of ABS or ASA.","u":"/en/3d-printing/printers/heated-chamber/","x":"A heated chamber actively keeps the interior of the printer at temperature, often 55 to 65 °C. This clearly reduces warping and cracks between layers. For ABS and ASA it is a convenience gain, for nylon, PC and large parts often the decisive difference."},{"t":"Anycubic Kobra 3 vs. Anycubic Kobra 3 V2","k":"Comparison","d":"Differences between Anycubic Kobra 3 and Anycubic Kobra 3 V2.","u":"/en/3d-printing/compare/anycubic-kobra-3-vs-anycubic-kobra-3-v2/"},{"t":"Anycubic Kobra 3 vs. Anycubic Kobra 4","k":"Comparison","d":"Differences between Anycubic Kobra 3 and Anycubic Kobra 4.","u":"/en/3d-printing/compare/anycubic-kobra-3-vs-anycubic-kobra-4/"},{"t":"Anycubic Kobra 3 V2 vs. Bambu Lab A1","k":"Comparison","d":"Differences between Anycubic Kobra 3 V2 and Bambu Lab A1.","u":"/en/3d-printing/compare/anycubic-kobra-3-v2-vs-bambu-lab-a1/"},{"t":"Anycubic Kobra 4 vs. Anycubic Kobra X","k":"Comparison","d":"Differences between Anycubic Kobra 4 and Anycubic Kobra X.","u":"/en/3d-printing/compare/anycubic-kobra-4-vs-anycubic-kobra-x/"},{"t":"Anycubic Kobra S1 vs. Anycubic Kobra X","k":"Comparison","d":"Differences between Anycubic Kobra S1 and Anycubic Kobra X.","u":"/en/3d-printing/compare/anycubic-kobra-s1-vs-anycubic-kobra-x/"},{"t":"Anycubic Kobra S1 vs. Bambu Lab P1S","k":"Comparison","d":"Differences between Anycubic Kobra S1 and Bambu Lab P1S.","u":"/en/3d-printing/compare/anycubic-kobra-s1-vs-bambu-lab-p1s/"},{"t":"Anycubic Kobra S1 vs. Bambu Lab P2S","k":"Comparison","d":"Differences between Anycubic Kobra S1 and Bambu Lab P2S.","u":"/en/3d-printing/compare/anycubic-kobra-s1-vs-bambu-lab-p2s/"},{"t":"Anycubic Kobra S1 vs. Creality K2","k":"Comparison","d":"Differences between Anycubic Kobra S1 and Creality K2.","u":"/en/3d-printing/compare/anycubic-kobra-s1-vs-creality-k2/"},{"t":"Anycubic Kobra S1 vs. Elegoo Centauri Carbon","k":"Comparison","d":"Differences between Anycubic Kobra S1 and Elegoo Centauri Carbon.","u":"/en/3d-printing/compare/anycubic-kobra-s1-vs-elegoo-centauri-carbon/"},{"t":"Anycubic Kobra S1 vs. Elegoo Centauri Carbon 2","k":"Comparison","d":"Differences between Anycubic Kobra S1 and Elegoo Centauri Carbon 2.","u":"/en/3d-printing/compare/anycubic-kobra-s1-vs-elegoo-centauri-carbon-2/"},{"t":"Anycubic Kobra S1 Max vs. Bambu Lab H2S","k":"Comparison","d":"Differences between Anycubic Kobra S1 Max and Bambu Lab H2S.","u":"/en/3d-printing/compare/anycubic-kobra-s1-max-vs-bambu-lab-h2s/"},{"t":"Anycubic Kobra S1 Max vs. Bambu Lab P2S","k":"Comparison","d":"Differences between Anycubic Kobra S1 Max and Bambu Lab P2S.","u":"/en/3d-printing/compare/anycubic-kobra-s1-max-vs-bambu-lab-p2s/"},{"t":"Anycubic Kobra S1 Max vs. Creality K2 Plus","k":"Comparison","d":"Differences between Anycubic Kobra S1 Max and Creality K2 Plus.","u":"/en/3d-printing/compare/anycubic-kobra-s1-max-vs-creality-k2-plus/"},{"t":"Anycubic Kobra X vs. Bambu Lab A1","k":"Comparison","d":"Differences between Anycubic Kobra X and Bambu Lab A1.","u":"/en/3d-printing/compare/anycubic-kobra-x-vs-bambu-lab-a1/"},{"t":"Bambu Lab A1 vs. Bambu Lab A1 mini","k":"Comparison","d":"Differences between Bambu Lab A1 and 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H2D.","u":"/en/3d-printing/compare/bambu-lab-h2c-vs-bambu-lab-h2d/"},{"t":"Bambu Lab H2D vs. Bambu Lab H2S","k":"Comparison","d":"Differences between Bambu Lab H2D and Bambu Lab H2S.","u":"/en/3d-printing/compare/bambu-lab-h2d-vs-bambu-lab-h2s/"},{"t":"Bambu Lab H2D vs. Bambu Lab X1 Carbon","k":"Comparison","d":"Differences between Bambu Lab H2D and Bambu Lab X1 Carbon.","u":"/en/3d-printing/compare/bambu-lab-h2d-vs-bambu-lab-x1-carbon/"},{"t":"Bambu Lab H2D vs. Bambu Lab X2D","k":"Comparison","d":"Differences between Bambu Lab H2D and Bambu Lab X2D.","u":"/en/3d-printing/compare/bambu-lab-h2d-vs-bambu-lab-x2d/"},{"t":"Bambu Lab H2S vs. Bambu Lab X2D","k":"Comparison","d":"Differences between Bambu Lab H2S and Bambu Lab X2D.","u":"/en/3d-printing/compare/bambu-lab-h2s-vs-bambu-lab-x2d/"},{"t":"Bambu Lab H2S vs. Creality K2 Plus","k":"Comparison","d":"Differences between Bambu Lab H2S and Creality K2 Plus.","u":"/en/3d-printing/compare/bambu-lab-h2s-vs-creality-k2-plus/"},{"t":"Bambu Lab H2S vs. Qidi Max4","k":"Comparison","d":"Differences between Bambu Lab H2S and Qidi Max4.","u":"/en/3d-printing/compare/bambu-lab-h2s-vs-qidi-max4/"},{"t":"Bambu Lab P1P vs. Bambu Lab P1S","k":"Comparison","d":"Differences between Bambu Lab P1P and Bambu Lab P1S.","u":"/en/3d-printing/compare/bambu-lab-p1p-vs-bambu-lab-p1s/"},{"t":"Bambu Lab P1S vs. Bambu Lab P2S","k":"Comparison","d":"Differences between Bambu Lab P1S and Bambu Lab P2S.","u":"/en/3d-printing/compare/bambu-lab-p1s-vs-bambu-lab-p2s/"},{"t":"Bambu Lab P1S vs. Bambu Lab X1 Carbon","k":"Comparison","d":"Differences between Bambu Lab P1S and Bambu Lab X1 Carbon.","u":"/en/3d-printing/compare/bambu-lab-p1s-vs-bambu-lab-x1-carbon/"},{"t":"Bambu Lab P1S vs. Elegoo Centauri Carbon","k":"Comparison","d":"Differences between Bambu Lab P1S and Elegoo Centauri Carbon.","u":"/en/3d-printing/compare/bambu-lab-p1s-vs-elegoo-centauri-carbon/"},{"t":"Bambu Lab P1S vs. Elegoo Centauri Carbon 2","k":"Comparison","d":"Differences between Bambu Lab P1S and Elegoo Centauri Carbon 2.","u":"/en/3d-printing/compare/bambu-lab-p1s-vs-elegoo-centauri-carbon-2/"},{"t":"Bambu Lab P2S vs. Bambu Lab X1 Carbon","k":"Comparison","d":"Differences between Bambu Lab P2S and Bambu Lab X1 Carbon.","u":"/en/3d-printing/compare/bambu-lab-p2s-vs-bambu-lab-x1-carbon/"},{"t":"Bambu Lab P2S vs. Bambu Lab X2D","k":"Comparison","d":"Differences between Bambu Lab P2S and Bambu Lab X2D.","u":"/en/3d-printing/compare/bambu-lab-p2s-vs-bambu-lab-x2d/"},{"t":"Bambu Lab P2S vs. Elegoo Centauri Carbon 2","k":"Comparison","d":"Differences between Bambu Lab P2S and Elegoo Centauri Carbon 2.","u":"/en/3d-printing/compare/bambu-lab-p2s-vs-elegoo-centauri-carbon-2/"},{"t":"Bambu Lab X1 Carbon vs. Bambu Lab X2D","k":"Comparison","d":"Differences between Bambu Lab X1 Carbon and Bambu Lab X2D.","u":"/en/3d-printing/compare/bambu-lab-x1-carbon-vs-bambu-lab-x2d/"},{"t":"Bambu Lab X2D vs. Qidi Q2","k":"Comparison","d":"Differences between Bambu Lab X2D and Qidi Q2.","u":"/en/3d-printing/compare/bambu-lab-x2d-vs-qidi-q2/"},{"t":"Bambu Lab X2D vs. Snapmaker U1","k":"Comparison","d":"Differences between Bambu Lab X2D and Snapmaker U1.","u":"/en/3d-printing/compare/bambu-lab-x2d-vs-snapmaker-u1/"},{"t":"Creality Ender-3 V3 vs. Creality Ender-3 V3 KE","k":"Comparison","d":"Differences between Creality Ender-3 V3 and Creality Ender-3 V3 KE.","u":"/en/3d-printing/compare/creality-ender-3-v3-vs-creality-ender-3-v3-ke/"},{"t":"Creality Ender-3 V3 vs. Creality Ender-3 V3 SE","k":"Comparison","d":"Differences between Creality Ender-3 V3 and Creality Ender-3 V3 SE.","u":"/en/3d-printing/compare/creality-ender-3-v3-vs-creality-ender-3-v3-se/"},{"t":"Creality Ender-3 V3 vs. Creality Ender-3 V4","k":"Comparison","d":"Differences between Creality Ender-3 V3 and Creality Ender-3 V4.","u":"/en/3d-printing/compare/creality-ender-3-v3-vs-creality-ender-3-v4/"},{"t":"Creality Ender-3 V3 KE vs. Creality Ender-3 V3 SE","k":"Comparison","d":"Differences between Creality Ender-3 V3 KE and Creality Ender-3 V3 SE.","u":"/en/3d-printing/compare/creality-ender-3-v3-ke-vs-creality-ender-3-v3-se/"},{"t":"Creality Ender-3 V3 KE vs. Elegoo Neptune 4 Pro","k":"Comparison","d":"Differences between Creality Ender-3 V3 KE and Elegoo Neptune 4 Pro.","u":"/en/3d-printing/compare/creality-ender-3-v3-ke-vs-elegoo-neptune-4-pro/"},{"t":"Creality K1 Max vs. Creality K2 Plus","k":"Comparison","d":"Differences between Creality K1 Max and Creality K2 Plus.","u":"/en/3d-printing/compare/creality-k1-max-vs-creality-k2-plus/"},{"t":"Creality K1C vs. Creality K2","k":"Comparison","d":"Differences between Creality K1C and Creality K2.","u":"/en/3d-printing/compare/creality-k1c-vs-creality-k2/"},{"t":"Creality K2 vs. Creality K2 Pro","k":"Comparison","d":"Differences between Creality K2 and Creality K2 Pro.","u":"/en/3d-printing/compare/creality-k2-vs-creality-k2-pro/"},{"t":"Creality K2 vs. Creality K2 SE","k":"Comparison","d":"Differences between Creality K2 and 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48W","k":"Comparison","d":"Differences between Acmer P2 33W and Acmer P3 48W.","u":"/en/laser/compare/acmer-p2-33w-vs-acmer-p3-48w/"},{"t":"Atomstack A70 Max vs. Atomstack X70 Max","k":"Comparison","d":"Differences between Atomstack A70 Max and Atomstack X70 Max.","u":"/en/laser/compare/atomstack-a70-max-vs-atomstack-x70-max/"},{"t":"Atomstack P1 vs. Sculpfun iCube Ultra","k":"Comparison","d":"Differences between Atomstack P1 and Sculpfun iCube Ultra.","u":"/en/laser/compare/atomstack-p1-vs-sculpfun-icube-ultra/"},{"t":"Bambu Lab H2D Laser vs. Bambu Lab R1","k":"Comparison","d":"Differences between Bambu Lab H2D Laser and Bambu Lab R1.","u":"/en/laser/compare/bambu-lab-h2d-laser-vs-bambu-lab-r1/"},{"t":"Bambu Lab R1 vs. OMTech Polar Lite 55W","k":"Comparison","d":"Differences between Bambu Lab R1 and OMTech Polar Lite 55W.","u":"/en/laser/compare/bambu-lab-r1-vs-omtech-polar-lite-55w/"},{"t":"Bambu Lab R1 vs. WeCreat Vision Pro 45W","k":"Comparison","d":"Differences between Bambu Lab 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between Gweike G3 and xTool F2 Ultra.","u":"/en/laser/compare/gweike-g3-vs-xtool-f2-ultra/"},{"t":"LaserPecker LP4 vs. LaserPecker LP5","k":"Comparison","d":"Differences between LaserPecker LP4 and LaserPecker LP5.","u":"/en/laser/compare/laserpecker-lp4-vs-laserpecker-lp5/"},{"t":"LaserPecker LP4 vs. xTool F1","k":"Comparison","d":"Differences between LaserPecker LP4 and xTool F1.","u":"/en/laser/compare/laserpecker-lp4-vs-xtool-f1/"},{"t":"LaserPecker LP5 vs. xTool F1 Ultra","k":"Comparison","d":"Differences between LaserPecker LP5 and xTool F1 Ultra.","u":"/en/laser/compare/laserpecker-lp5-vs-xtool-f1-ultra/"},{"t":"LaserPecker LP5 vs. xTool F2","k":"Comparison","d":"Differences between LaserPecker LP5 and xTool F2.","u":"/en/laser/compare/laserpecker-lp5-vs-xtool-f2/"},{"t":"LaserPecker LP5 vs. xTool F2 Ultra","k":"Comparison","d":"Differences between LaserPecker LP5 and xTool F2 Ultra.","u":"/en/laser/compare/laserpecker-lp5-vs-xtool-f2-ultra/"},{"t":"OMTech Polar Lite 55W vs. xTool P2S","k":"Comparison","d":"Differences between OMTech Polar Lite 55W and xTool P2S.","u":"/en/laser/compare/omtech-polar-lite-55w-vs-xtool-p2s/"},{"t":"Thunder Laser Bolt 30W vs. Thunder Laser Nova 35","k":"Comparison","d":"Differences between Thunder Laser Bolt 30W and Thunder Laser Nova 35.","u":"/en/laser/compare/thunder-laser-bolt-vs-thunder-laser-nova-35/"},{"t":"WeCreat Vision Pro 45W vs. xTool S1 40W","k":"Comparison","d":"Differences between WeCreat Vision Pro 45W and xTool S1 40W.","u":"/en/laser/compare/wecreat-vision-pro-45w-vs-xtool-s1-40w/"},{"t":"xTool F1 vs. xTool F2","k":"Comparison","d":"Differences between xTool F1 and xTool F2.","u":"/en/laser/compare/xtool-f1-vs-xtool-f2/"},{"t":"xTool F1 vs. xTool S1 40W","k":"Comparison","d":"Differences between xTool F1 and xTool S1 40W.","u":"/en/laser/compare/xtool-f1-vs-xtool-s1-40w/"},{"t":"xTool F1 Ultra vs. xTool F2","k":"Comparison","d":"Differences between xTool F1 Ultra and xTool F2.","u":"/en/laser/compare/xtool-f1-ultra-vs-xtool-f2/"},{"t":"xTool F2 vs. xTool F2 Ultra","k":"Comparison","d":"Differences between xTool F2 and xTool F2 Ultra.","u":"/en/laser/compare/xtool-f2-vs-xtool-f2-ultra/"},{"t":"xTool F2 vs. xTool M2","k":"Comparison","d":"Differences between xTool F2 and xTool M2.","u":"/en/laser/compare/xtool-f2-vs-xtool-m2/"},{"t":"xTool F2 Ultra vs. xTool F2 Ultra UV","k":"Comparison","d":"Differences between xTool F2 Ultra and xTool F2 Ultra UV.","u":"/en/laser/compare/xtool-f2-ultra-vs-xtool-f2-ultra-uv/"},{"t":"xTool F2 Ultra vs. xTool P3","k":"Comparison","d":"Differences between xTool F2 Ultra and xTool P3.","u":"/en/laser/compare/xtool-f2-ultra-vs-xtool-p3/"},{"t":"xTool M1 Ultra vs. xTool M2","k":"Comparison","d":"Differences between xTool M1 Ultra and xTool M2.","u":"/en/laser/compare/xtool-m1-ultra-vs-xtool-m2/"},{"t":"xTool M1 Ultra vs. xTool S1 40W","k":"Comparison","d":"Differences between xTool M1 Ultra and xTool S1 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