It prints no size at all, and no other figure either. No inches, no centimetres, no millimetres, no percentage, no angle, no share of the limb, and nowhere to type a tape reading. Absolute size cannot be recovered from one photograph — that is ill-posedness, not a missing feature. An earlier build asked for a tape measurement across the limb and turned it into inches; a tape laid across a curved arm follows the curve, so it never returns the width, and every figure downstream of it was badly too large while carrying a stamp that made it look checked. That feature was deleted rather than repaired. The figures that replaced it were deleted too — a wrap share, a turn angle, a swing angle, a coverage angle and a share-of-the-face dial — because the ruling was never about units. The controls kept their function and lost their printed values: a control here may show where it sits in its travel, and it may not show a number. This entry is headed the way it is because the head and the body have to be the same claim; an earlier version of it printed a percentage inside the paragraph that said it prints none.
It derives nothing until you draw the stroke. The one stroke across the limb is the entire model — it gives the centre, the radius and the axis at once. There is no default stroke and nothing is detected from the photo, so before you drag it there is no limb and no design on the skin. The tool does not guess where the arm is and then quietly compute from the guess. Nothing is derived for display in any case: what the stroke buys you is the drawing, not a readout.
It cannot show the far side. Most of a limb faces away from any camera at any moment, and a design that reaches far enough round can never be fully visible in one view. It draws a hatch at the silhouette and says so in words. It never quietly crops, and it will not fake a wrap-around.
It treats the limb as a circle. A forearm is not perfectly round. Modelling that would mean inventing a depth the photo cannot supply and hiding it under a client-facing figure, so it is not modelled. This route used to print a wrap share computed on that circle, which meant the one figure it showed in gold rested on a model this very entry calls false. The circle still bends the picture, because something has to; nothing is printed off it any more.
It cannot see shape in shading. It does not try. Depth cannot be recovered from brightness even in the ideal case, and skin is not the ideal case. An old tattoo, a cast shadow, a tan line and a real hollow are the same darkening in a photograph. The bend you see is the one you drew, and nothing else.
It is one pose. Approve on the rest pose — standing, arm down. A piece approved on a flexed bicep looks melted at rest, and one static photograph holds exactly one pose.
It does not predict time. No healing preview, no fresh-versus-healed, no five-year fade, no blowout. Those are facts that belong in your mouth, not in a rendered image with a year written on it.
It examines no skin and makes no medical claim. It will draw straight over a mole, a scar, a graft or a stretch mark, and that is not an opinion about whether you should. No mole detection, no pain map, no numbing, no aftercare, no healing advice. It does read the photograph's pixels — the texture step named below screens the picture's own fine grain back over the composite, and the ink model reads how brightly a patch is lit. That is brightness arithmetic, not examination: nothing is classified, nothing is detected, no skin colour is read anywhere in the geometry, and no conclusion of any kind is drawn from what is read. This entry used to be headed “it looks at no skin”, which the texture entry below plainly contradicted. This is the narrower claim and it is the true one.
It does not judge the design. It never says a piece is tattooable, never says a size is safe, never says line weight will hold or that spacing will survive ink spread. It shows geometry. Feasibility is yours, and this must never be quotable by a client against the person holding the machine.
It prints no price and no hours. Nothing here lands on the client's side of the counter and undercuts your own quote.
It says nothing about skin tone. No colour recommendations, no technique advice, no inference from the photo. Nothing in the geometry path reads skin colour at all, and no threshold anywhere in this route decides what is skin and what is not — which is why it cannot work on one arm and fail on another.
It generates nothing and names no one. It takes your PNG and never redraws it: no generation, no re-lining, no restyling, no “in the style of” anybody, and its aspect ratio is preserved exactly. It does RESAMPLE it, and saying otherwise would be false — the file is drawn into arc space, reduced once across, then resampled again strip by strip to produce the foreshortening, faded to nothing at the silhouette, and every surviving pixel is recoloured by the ink model below. The honest claim is the narrow one: in arc space the linework and the proportions are what you drew, and every bend you see after that is the projection.
It screens the photo's own skin texture back over the design. At partial weight, so the ink does not read as flat vector art. This is the one step in the route whose purpose is to be convincing, so it is named here rather than left out, and it is why the entry above says the tool examines no skin rather than that it never looks at the picture. It does look at the picture, as brightness, and it draws no conclusion from what it sees. The texture is the photograph's own high-frequency residual: pores, creases, grain. It is band-limited, which is what makes it safe — it carries no large-scale shape, so it cannot invent a hollow or a muscle. Nothing is displaced by it and no height is inferred from it.
Better geometry is not better ink. The curve is honest. The ink model is not validated. Its constants are unsourced and were never checked against a photograph of a healed tattoo, and they were deliberately left alone. Warping an unvalidated appearance model onto a correctly curved limb makes it more convincing without making it more true.
It does not replace the stencil. The stencil is the full-size working tool, the committed record of scale, and the consent gate where a client approves a permanent mark in a mirror, in the room, moving. This moves the arguing earlier so the stencil goes on once instead of three times. It is easy to wipe a stencil and impossible to move a tattoo, and this is on the wipeable side of that line.
It will not flatter. No drop shadow, no gloss, no vignette, no added grain, no soft focus. The page's own film grain is lifted off the canvas, so the preview and the saved file are the same pixels. If a placement looks wrong here it is shown looking wrong.
Edit locally. Choose whether to save or send. Picking a photo or artwork and adjusting the design does not upload those images. “Save to account” is an explicit upload: it keeps reduced working copies and the current placement in your private Dylanvir account so you can reopen the project. Keep your original files separately. “Send the shot” hands a finished JPEG to your device; the app you choose may upload it under its own rules. Clearing an image changes the local draft; a saved account copy changes only when you save again. Images that you neither save nor send are discarded when the tab closes.
