Type a name. The letters come straight out of the font as outlines, get pushed up into a slab, and download as an STL that prints flat on its back with no supports.
On a plate is the ordinary luggage tag: the letters stand proud of a rounded plate that carries the ring hole. Nothing can come loose.
On a bar drops the plate and runs a bar under the letters instead, with a lug on the end for the ring. Lighter, and the name reads against whatever is behind it.
Letters only is the good one, and the fussy one: the letters hold each other up, so they have to touch. A script does it on its own. Anything else needs the spacing closed up until it does, which the button under the spacing slider will find for you.
Separate pieces. Every solid is painted onto a fine grid and the grid is flood filled. More than one island means the print comes off the bed in more than one part.
Thin strokes. From the middle of every bit of outline a ray walks into the letter until the far wall comes back at it. That distance is the local stroke width, and the number shown is the thinnest twentieth of the outline, not the thinnest single point, because a brush font ends in a point and a point is always zero wide.
A 0.4 mm nozzle lays two lines in a 1 mm stroke and nothing at all in a 0.3 mm one.
Stems. The dot over an i is its own island, and with no plate under it that is a crumb that never leaves the bed. Each one is walked back to the body of the part across the empty space between them, and the shortest walk becomes a stem, which is what a signwriter would have drawn anyway. Only crumbs get one: a whole letter that cannot reach its neighbours needs the spacing closed up instead.