Why textures print well here
A texture is a height over the surface, between 0 and 1. Cut in, 1 is the original surface and 0 is the full depth below it, so nothing grows and the part still fits; raise out does the opposite. Only the textured faces are divided into fine triangles (0.4 mm, or a sixth of the repeat), long thin faces as strips rather than grids, and the faces next to them are fanned to stay watertight, so the triangles go where the texture is and a cup gets the same detail as a box. Each new vertex is moved along the face it belongs to, and the texture fades to nothing over the last millimetre, measured along the surface, before any face it does not cover and before the plate, so edges stay crisp and the first layer stays clean. Faces that touch the plate are never textured, and a face that already leans outward by more than 15° is not a wall.
The readout
On a wall, what matters is slope in the vertical direction: a surface that leans outward going up is an overhang. The readout gives the steepest one on the part, ignoring the slivers subdivision leaves behind, and the area steeper than 50°. Under 45° prints cleanly on any printer; up to 60° with cooling; above that, pick a gentler texture, a longer repeat or a shallower depth. Flutes, ripples, orange peel and leather are the safest; knurl, honeycomb and brick have crisp grooves and want a longer repeat on a wall.
Picking faces, bands and stamps
Tap to pick turns the 3D view into a picker: a tap adds the smooth region under it (a flat face, or a whole cylinder whose facets step less than 8°) and a second tap removes it; picked faces glow amber. A band keeps the texture between two heights above the plate, and the fade along it makes an ombré, so a vase can go from smooth at the base to deep scales at the lip. The stamp texture uses your text, set in a bold sans serif, or any picture as a height map (dark is deep), placed once at the centre of the textured faces or tiled with one tile per repeat; the softness knob blurs its edges so the slopes stay gentle.
Finest detail and the thinnest wall
Two more readouts keep the print honest. Finest detail is the narrowest ridge or groove in the pattern at this repeat, found by sampling the height field and measuring the runs of high and low; a 0.4 mm nozzle lays lines about 0.42 mm wide, so anything finer is merged or dropped by the slicer, and a longer repeat is the cure. Thinnest wall casts a ray inward from the textured faces and reports the shortest distance to the surface behind; a cut that takes more than a third of the wall, or leaves less than 0.8 mm, is flagged, and raising the texture out instead costs nothing in strength.
The heat view and Make it print
The flame button colours every face by its overhang: green under 45°, amber to 60°, red beyond. Make it print scales the depth by the ratio of the tangents, which on a wall brings the steepest slope straight to 42°, and rebuilds; a second press, if the first fell short, finishes the job.
Wrap
Flat faces take the texture by the two world axes along them; a round part takes it around its axis, with the repeat nudged so a whole number fits and the seam closes. Auto picks by how many walls face outward from the axis.
The first layer
The bottom face is rasterised at a quarter millimetre, the pattern laid over it a margin inside the edge, and the cells where both hold become a thin solid one or two layers tall. In the 3MF it is a second part of the same object on filament 2; Bambu Studio clips a later part out of an earlier one where they overlap, so the body loses nothing but those cells, and the slicer changes colour twice per layer for one or two layers. Text is set in the browser’s bold sans serif and mirrored so it reads from below. After opening, check the filament list shows two filaments and that the inlay part is on the second; drag it to another if you like.
Printing
Open the 3MF as a project. Print as placed. With the slicer tuning on, the object carries three per-object settings that suit textured walls and change nothing in your profiles: the seam at the back, so it hides on the far side; the outer wall at 120 mm/s, so every ridge is laid cleanly; and three wall loops, so the cut never reaches the infill. Textured walls also like a little extra cooling, and benefit from the walls test in Swatch. On a textured plate the body’s bottom is matte and the inlay sits flush.