The critic, round 1

TRAME takes the good-fella grammar and applies it to a Jacquard studio with real conviction. There is one orange accent, hard cuts between #141314 and #eeeeee, a work rail with an orange-square marker, a ghost wordmark footer and orange CTA blocks, each with a detached "+" chip. The code-drawn weave engine makes the subject into its own art (moth damask, punched-card chains, point paper, a woven skyline), which is a real twist on a dot-matrix portrait. It still sits clearly below the reference. The loupe cursor is stuck as an empty black box with a label over headings, the FAQ and the footer on almost every desktop frame. The process scene has large dead areas. The Lovelace woven-type cloth looks blurry rather than woven. The motion that reads in frames is mostly the orange loader and number scrambles; there is no visible headline reveal and no real pinned moment. On mobile the pull quote breaks "Engine" mid-word.

• A subject-as-art concept: one weave engine draws every image (damask moth, punched-card chains, point paper, endroit/envers, the orange woven Lyon skyline), and it fits the "first programmable machine" story
• Palette discipline matches good-fella: #141314/#eeeeee hard cuts, and orange used only for action, active markers, the fell pick and the footer skyline
• The Selected cloths section recreates refs/good-fella/03.jpg well: sticky left column, thumbnail rail with an orange square, big cloth cards with mono name and bracketed tags