The judge

Every frame you develop is looked at the moment it lands, free, and comes back marked in plain words — twelve marks, a place on your frame, and a paid one-click redraw that carries the correction.

Every frame the house develops is looked at as soon as it lands. It costs no tokens, it runs after the frame is already yours, and it can never delay or fail a develop. What comes back is a short line about your frame — "Left hand — drawn wrong." — not a defect code and not a definition.

The judge →

What you see in the Darkroom

A frame that has just landed reads checking while the house looks at it. It then resolves to one of two things and never goes backwards:

What it reads	What it means
`checking`	The frame is yours. The house is still looking at it.
`checked`	Looked at, nothing found.
`1 mark` / `2 marks`	Something is wrong. A magenta hairline sits under the count.
nothing at all	We could not look at this one. It says nothing about your frame.

A frame never reads clean and then turns flagged. It reads checking first or it reads nothing — so a count you can see is a count you can trust.

The magenta hairline is the only magenta on the frame at rest. It means one thing: this frame needs you now. Open the count and the marks are listed worst first.

What it is looking at

Three things, and all three matter:

The frame it just made.
The pictures you gave us — your model, your garments, your logo — labelled by the role you gave them. Without your references, six of the twelve marks cannot be found at all, because there is nothing to compare against.
The brief we compiled from your choices, including the note you typed. That is what makes "we missed this" possible.

It never sees your frame in isolation and then guesses. Where it has no reference, the marks that need one are removed from its vocabulary rather than guessed at — a packshot is never marked for the model's face, because there is no model in it.

The twelve marks

Each mark is a place on your frame plus a short predicate. The place is the model's own words about where to look; the predicate is always ours.

What it reads	What it means
drawn wrong	A hand, a face or a seam did not come out.
not your model	The face is not the one you cast.
not the piece you sent	The garment is not the one in your reference.
doubled	Something appears twice — a strap, a limb, a seam.
the logo is wrong	A print or a mark is not the one you gave us.
changed on its own	The set, the light or the ground drifted from what you chose.
we missed this	You asked for something and the frame does not have it.
the skin lost its texture	Over-smoothed to plastic.
doesn’t sit right	The garment sits on the body wrong — pulled, floating, or the wrong length.
the details disagree	Buttons, pockets or stitching do not match the piece you sent.
something extra in the shot	Something is in the frame that should not be.
we didn’t carry it	Your note never reached the recipe. Ours, not the model's.

At most five marks per frame, worst first, one row per kind — three broken fingers is one mark, not three.

Two of the twelve are about us

we missed this and we didn’t carry it are the house admitting a miss. The second one is the harder admission: your note never reached the recipe at all, so drawing the frame again would reproduce the miss exactly. When that is the only mark on a frame, the house does not offer to sell you a redraw.

Drawing it again

A flagged frame carries a Draw it again verb, and the price is on the verb before you press it. The house never charges for a frame you did not price first.

A redraw is an ordinary develop at the ordinary price — the same tokens the frame cost the first time. There is no free-retry allowance, and there is no discount. Two things make it a correction rather than a repeat:

The fix rides along. The marks are turned into one corrective sentence in your language and carried into the new develop. You do not retype anything.
The frame remembers. The new pass is recorded as an attempt at the old one, so the frame grows arrows you can step back through. Walk back a pass and both the image and its marks change together.

After a redraw, a mark that is gone reads gone and is struck through; one that survived stays where it was. That is the point of the strip — you can see what the second pass actually fixed.

Two verdicts never carry a price:

The note we dropped. A fresh draw cannot fix our own miss, so we do not sell you one.
A frame we could not read. Our inspection failed, not your frame. Nothing is offered and nothing is charged.

The score, and when it is withheld

Where marks were found, a number out of 100 sits under them. It is a rough ordering, not a grade: trust the marks, not the number. The weights behind it are still being fitted against real accepted and rejected frames, and until they are, a 72 and a 78 do not mean much apart.

The number is withheld in three cases, on purpose:

A clean frame shows no number. It reads checked. A "100" on every clean frame trains you to read a number that never moves.
A frame whose only mark is ours has nothing to grade — our dropped note costs your frame nothing.
A frame we could not read has no number, because a 0 would read as "we looked and it was terrible" when the truth is that we could not look.

What it does not judge

Video. A lookbook video has no verdict. It is not skipped quietly to save money — a vision model reading an mp4 returns nothing useful, and a wall of "could not read" is the one signal that tells us the judge itself is broken.
Your taste. It reports what is broken against the brief. It has nothing to say about styling, casting or whether a look works.

Where the marks appear: the Darkroom.
What a redraw costs: quality and cost.
Giving it something to compare against: collections and models.