Embroidery Design Quotes

An embroidery circle takes up a spot in the middle of the counter. I rush toward it and pick it up. My heart rate speeds up in my chest as I check out the most beautiful design I’ve ever seen. There’s no mistaking who made this. Santiago crafted a field of wildflowers, making up every color of the rainbow. It’s hands-down the best gift anyone has given me. A wobbly looking quote takes up the top of the design. Where most people see weeds, I only see you—my beautiful wildflower, untamed and free.

The difference in structure is of the same kind as that between an ordinary wallpaper in which the same pattern is repeated again and again in regular periodicity and a masterpiece of embroidery, say a Raphael tapestry, which shows no dull repetition, but an elaborate, coherent, meaningful design traced by the great master.

There is a – let us say – a machine. It evolved itself (I am severely scientific) out of a chaos of scraps of iron and behold! – it knits. I am horrified at the horrible work and stand appalled. I feel it ought to embroider – but it goes on knitting. You come and say: “this is all right; it’s only a question of the right kind of oil. Let us use this – for instance – celestial oil and the machine shall embroider a most beautiful design in purple and gold”. Will it? Alas no. You cannot by any special lubrication make embroidery with a knitting machine. And the most withering thought is that the infamous thing has made itself; made itself without thought, without conscience, without foresight, without eyes, without heart. It is a tragic accident – and it has happened. You can’t interfere with it. The last drop of bitterness is in the suspicion that you can’t even smash it. In virtue of that truth one and immortal which lurks in the force that made it spring into existence it is what it is – and it is indestructible! It knits us in and it knits us out. It has knitted time space, pain, death, corruption, despair and all the illusions – and nothing matters. I’ll admit however that to look at the remorseless process is sometimes amusing.

It's a pleasure to hear such kind words; it brings springtime to the heart.

I flew on to Ivano-Frankivsk where I was met by Roman Chekaliuk, Liuba Volianiuk, and Atena Pashko. Such meetings fill the heart and soul with iridescence and remain in one's memory forever.

Kate Walker´s attitude is characteristic of contemporary feminists' determination not to reject femininity but to empty the term of its negative connotations, to reclaim and refashion the category: "I have never worried that embroidery's association with femininity, sweetness, passivity and obedience may subvert my work's feminist intention. Femininity and sweetness are part of women's strength. Passivity and obedience, moreover, are the very opposites of the qualities necessary to make a sustained effort in needlework. What's required are physical and mental skills, fine aesthetic judgement in colour, texture and composition; patient during long training: and assertive individuality of design (and consequence disobedience of aesthetic convention). Quiet strength need not be mistaken for useless vulnerability".

Looking up at him from across the room, Bond had to admit that there was something larger than life in the looming, imperious figure, in the hypnotically direct stare of the eyes, in the tall white brow, in the cruel downward twist of the thin lips. The square-cut, heavily draped kimono, designed to give the illusion of bulk to a race of smallish men, made something huge out of the towering figure, and the golden dragon embroidery, so easily to be derided as a childish fantasy, crawled menacingly across the black silk and seemed to spit real fire from over the left breast. Blofeld had paused in his harangue. Waiting for him to continue, Bond took the measure of his enemy. He knew what would be coming – justification. It was always so. When they thought they had got you where they wanted you, when they knew they were decisively on top, before the knock-out, even to an audience on the threshold of extinction, it was pleasant, reassuring to the executioner, to deliver his apologia – purge the sin he was about to commit.

In 1931, amid that incredible transformation, a brilliant young Russian psychologist named Alexander Luria recognized a fleeting “natural experiment,” unique in the history of the world. He wondered if changing citizens’ work might also change their minds. When Luria arrived, the most remote villages had not yet been touched by the warp-speed restructuring of traditional society. Those villages gave him a control group. He learned the local language and brought fellow psychologists to engage villagers in relaxed social situations—teahouses or pastures—and discuss questions or tasks designed to discern their habits of mind. Some were very simple: present skeins of wool or silk in an array of hues and ask participants to describe them. The collective farmers and farm leaders, as well as the female students, easily picked out blue, red, and yellow, sometimes with variations, like dark blue or light yellow. The most remote villagers, who were still “premodern,” gave more diversified descriptions: cotton in bloom, decayed teeth, a lot of water, sky, pistachio. Then they were asked to sort the skeins into groups. The collective farmers, and young people with even a little formal education, did so easily, naturally forming color groups. Even when they did not know the name of a particular color, they had little trouble putting together darker and lighter shades of the same one. The remote villagers, on the other hand, refused, even those whose work was embroidery. “It can’t be done,” they said, or, “None of them are the same, you can’t put them together.” When prodded vigorously, and only if they were allowed to make many small groups, some relented and created sets that were apparently random. A few others appeared to sort the skeins according to color saturation, without regard to the color. Geometric shapes followed suit. The greater the dose of modernity, the more likely an individual grasped the abstract concept of “shapes” and made groups of triangles, rectangles, and circles, even if they had no formal education and did not know the shapes’ names. The remote villagers, meanwhile, saw nothing alike in a square drawn with solid lines and the same exact square drawn with dotted lines. To Alieva, a twenty-six-year-old remote villager, the solid-line square was obviously a map, and the dotted-line square was a watch. “How can a map and a watch be put together?” she asked, incredulous. Khamid, a twenty-four-year-old remote villager, insisted that filled and unfilled circles could not go together because one was a coin and the other a moon.

As Mollie said to Dailey in the 1890s: "I am told that there are five other Mollie Fanchers, who together, make the whole of the one Mollie Fancher, known to the world; who they are and what they are I cannot tell or explain, I can only conjecture." Dailey described five distinct Mollies, each with a different name, each of whom he met (as did Aunt Susan and a family friend, George Sargent). According to Susan Crosby, the first additional personality appeared some three years after the after the nine-year trance, or around 1878. The dominant Mollie, the one who functioned most of the time and was known to everyone as Mollie Fancher, was designated Sunbeam (the names were devised by Sargent, as he met each of the personalities). The four other personalities came out only at night, after eleven, when Mollie would have her usual spasm and trance. The first to appear was always Idol, who shared Sunbeam's memories of childhood and adolescence but had no memory of the horsecar accident. Idol was very jealous of Sunbeam's accomplishments, and would sometimes unravel her embroidery or hide her work. Idol and Sunbeam wrote with different handwriting, and at times penned letters to each other. The next personality Sargent named Rosebud: "It was the sweetest little child's face," he described, "the voice and accent that of a little child." Rosebud said she was seven years old, and had Mollie's memories of early childhood: her first teacher's name, the streets on which she had lived, children's songs. She wrote with a child's handwriting, upper- and lowercase letters mixed. When Dailey questioned Rosebud about her mother, she answered that she was sick and had gone away, and that she did not know when she would be coming back. As to where she lived, she answered "Fulton Street," where the Fanchers had lived before moving to Gates Avenue. Pearl, the fourth personality, was evidently in her late teens. Sargent described her as very spiritual, sweet in expression, cultured and agreeable: "She remembers Professor West [principal of Brooklyn Heights Seminary], and her school days and friends up to about the sixteenth year in the life of Mollie Fancher. She pronounces her words with an accent peculiar to young ladies of about 1865." Ruby, the last Mollie, was vivacious, humorous, bright, witty. "She does everything with a dash," said Sargent. "What mystifies me about 'Ruby,' and distinguishes her from the others, is that she does not, in her conversations with me, go much into the life of Mollie Fancher. She has the air of knowing a good deal more than she tells.

Aren’t the embroideries beautiful? I was inspired by a Chinese Ming dynasty Qípáo when I designed this ensemble.” Before he could continue, I said, “My mother wore qípáos at formal functions. She has a cheongsam with a thousand brocade butterflies embroidered on a red satin fabric.

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People are like multi-coloured threads on your life's hoop. Your conversations with them, the designs. And then fate weaves it all for you, and interknits embroidery of all the incomplete colourful stories.

It is curious how in English embroideries there has always been a predilection on the part of the designers for interlacing stems, and for the inconsequent introduction of birds and beasts.

I’d disguised my map as an embroidery design, just in case anyone found it on me.

Dubai is a city full of life, colors, and creativity. People here love to wear stylish clothes that make them look unique. One of the best ways to show your personality is by wearing a T-shirt. Custom t-shirt supplier in Dubai is becoming more popular because it allows people to design their own shirts. Whether you want to print your company logo, a funny quote, or a cool design, T-shirt printing is a great way to stand out. In this blog, we will talk about different types of T-shirt printing, why people love custom T-shirts, and where you can get the best T-shirt printing in Dubai. Why Choose Custom T-Shirt Printing? People love custom T-shirts for many reasons. Some use them for business, while others wear them to express their style. Here are some of the top reasons why T-shirt printing in Dubai is so popular: Unique Style – You can create a T-shirt that no one else has. It is a great way to show your personality. Business Branding – Many companies print their logos on T-shirts for marketing. It helps promote their brand. Events and Celebrations – Custom T-shirts are great for birthdays, weddings, and family gatherings. Sports Teams – Teams print their names and numbers on jerseys to feel united and motivated. Gifts – A custom T-shirt is a fun and thoughtful gift for friends and family. Types of T-Shirt Printing in Dubai There are many ways to print designs on T-shirts. Let’s look at some of the most popular T-shirt printing methods in Dubai. Screen Printing This method is used for bulk orders. It is best for simple designs with one or two colors. It gives a smooth and long-lasting print. Heat Transfer Printing This is done using heat and special paper to transfer a design onto the T-shirt. It works well for colorful designs and photos. Sublimation Printing This method is used for polyester T-shirts. The ink gets absorbed into the fabric, making the print last longer. It is best for sports jerseys and bright designs. Embroidery Printing Instead of ink, the design is stitched onto the T-shirt. It looks premium and is great for company logos and uniforms. DTG (Direct to Garment) Printing This method is like using a printer to print directly onto the fabric. It allows for detailed designs with many colors. Where to Get the Best T-Shirt Printing in Dubai? If you are looking for high-quality T-shirt printing in Dubai, you should choose a company that offers: Good Quality Fabric – A soft and comfortable T-shirt will make your design look even better. Affordable Prices – You should find a service that gives good value for money. Quick Delivery – Some companies offer same-day or next-day printing services. Custom Design Options – A company should allow you to create your own design. One of the best places for custom T-shirt printing in Dubai is THE RPS LLC. They provide high-quality printing for businesses, events, sports teams, and personal use. Whether you need a single T-shirt or a bulk order, they offer excellent service and fast delivery. How to Order Custom T-Shirts? Ordering a custom T-shirt is easy. Just follow these steps: Choose Your T-Shirt – Pick a style, size, and color. Upload Your Design – Send your logo, text, or image to the printing company. Select the Printing Method – Decide which printing type suits your design best. Confirm and Pay – Check the preview, make payment, and wait for your delivery. Conclusion Custom T-shirt supplier in Dubai is a fun and creative way to express yourself, promote your business, or make special events memorable. With many printing options available, you can create the perfect T-shirt for any occasion. If you want high-quality, affordable, and stylish custom T-shirts, check out THE RPS LLC for the best printing services in Dubai.