Woven structures drawn as a weave draft, not a picture of fabric — point paper, construction spec, float check and colourways, loom-ready.
Reference cloth · licensed photograph
Warp beamed. From here, a change of warp costs a warp — a change of weft costs a cone.
You approve a woven simulation, not a flat picture — structure and colour together, before yarn is committed.
Send references, the end use, and your loom details if you have them — or introduce us to your mill and we will ask.
One number covering the draft, construction spec, simulation and colourways.
You approve the woven simulation — structure and colour, not just artwork. Two rounds included.
Point paper, spec sheet, colourways and files for your mill’s software — ownership transferred.
A mill cannot weave a picture. It weaves a draft, a construction and a repeat that fits the loom in front of it.
It is not a style choice. It is who controls the warp: a shaft that moves a whole group of ends, or a hook that moves one.
Ends are threaded onto shafts, and a shaft lifts every end on it together. Eight to thirty-two shafts is typical — that count is the ceiling.
Every end hangs on its own hook, so no two ends need agree. The limit is hook count and repeat width, not shafts.
The test we apply: if two ends side by side must behave differently, no number of shafts will do it — that is jacquard. If a few repeating end groups can build it, it belongs on a dobby, and we will say so.
Swapping a weft cone takes minutes. Re-beaming a warp takes a day and a bill, so the range should come out of the weft wherever it can.
Swapping weft yarns between colourways is quick and cheap. Re-beaming a warp is neither. So the range is engineered to come out of weft changes — and when a colourway truly needs its own warp, we flag it before you commit.
Warp-way stripes are the exception. A stripe running down the cloth lives in the warp, so changing it means a new beam. We tell you which colourways share one.
In a jacquard these are the palette: satin catches the light where twill holds shadow, and that contrast is the design.
Eleven stages, in this order. The four in colour are the ones that decide whether the cloth can be woven at all.
A weavable design. You get the point-paper weave draft, the construction spec (EPI, PPI, yarn counts, weave structures per area), the repeat sized to your loom's hook count or shaft count, and a woven simulation so you can approve the look before yarn is committed. An image is the starting point; the weaving instruction is the deliverable.
No — that's our first job. Small geometric textures with a limited repeat usually run on dobby; pictorial, large-repeat or multi-structure designs need jacquard. We'll tell you which your idea needs, and if the cheaper loom can do it, we'll say so.
Yes. Tell us the loom's hook count (jacquard) or number of shafts (dobby), reed and pick density, and yarn library — or introduce us to your mill and we'll take those details directly. The repeat is built to those numbers, not adapted afterwards.
Included — and engineered honestly. Weft colorway changes are cheap at the mill; warp changes are not. We design the colorways so as many variants as possible come from weft changes only, and we'll flag any that would force a new warp.
You review a woven simulation that shows the structure, not just the artwork — floats, texture and colour mixing included. Two revision rounds are built in. Mills can also request a blanket layout for sampling multiple colorways in one run.
You do — mill or brand, whoever commissions it. Full rights transfer on final payment, the design is never resold or re-coloured for anyone else, and we don't show it publicly without your written OK.
Would you rather hire one person? Our studio draws weave structures end to end — or you can brief an approved Dobby & Jacquard specialist directly from our curated network.
Find a Dobby & Jacquard specialistTell us the end use and your loom, if you know it — fixed quote within 24 hours.