Newport Harbor© needlework thread is 70% British Merino Lambswool and 30% South American
Alpaca. When we decided to introduce this yarn, we were exploring
several concepts for the development
Newport Harbor© is also perfectly
capable of standing on its own, and shows great beauty in so doing.
The size of Newport Harbor© adds
to this thread's potential. Newport Harbor© is approximately 1/2
This thread was also selected
for its binding ability to Felicity's Garden©, which makes it extremely
Newport Harbor© Virtual
N01 - Set Sail
N02 - Harbor Seal
N03 - Anchors Aweigh
N04 - Nor'Easter
N05 - Clingstone Sand
N06 - Mussel Shell
N07 - Narragansett Bay
N08 - Gale Warning
N09 - Waterlot Grey
N10 - Dumpling Rock
N11 - Sundown
N12 - Spinnaker
Needlepoint Canvas Requirements & How Newport Harbor© Will Fit.
Always cut our prepared length in half so as not to cause unnecessary wear.
Mesh Needlepoint Canvas.
#13 & #14 Mesh Needlepoint Canvas.
#12 Mesh Needlepoint Canvas.
©2001, Rosebud's Studio. All Rights Reserved.
Harbor - 70% British Merino Lambswool
Ocean drives, cottages and castles, sails and spinnakers, lobster, America’s Cup Races, and a Windmill to sail past after a beautiful summer’s day. Sunsets, bicycling, warm fireside evenings, seagulls, a Bridge, and memories of ferry trips not really so very long ago. . . Newport.
Newport with Felicity's Garden
Newport is a yarn of hidden potential. Close inspection will reveal a yarn of far more colors than the palette of twelve initially suggests. Each color of Newport, except white, black and navy, is made up of five colors of dye. Each color is processed individually before being spun and twisted together. Look closely and you will see the colors contained within. There are actually 48 colors of dye that have been used in this yarn. This yarn has the ability to inter-react with surrounding colors.
Using this yarn as a blender for Felicity’s Garden, for example, on #18 mesh you would use one strand of Felicity’s Garden with one strand of Newport. Shades of colors that are close to each other in intensity will produce very subtle changes that would actually move into the realm of shading. Newport is a perfect binder for Felicity’s Garden because of the agreement of the merinos and the introduction of the alpaca. If Brown Raccoon #009 of Felicity’s Garden is paired with a gray of Newport, the result will be a grayish brown. The result will not reveal that two threads were actually used. It will look like a new blended color. If Spinnaker in Newport (#12) is added to Brown Raccoon, a reddish brown will occur. Suppose you are working a branch under a red flower, this blend would create the potential of moving the flower color into the shadows of the stem.
The size of Newport also adds to this thread’s ability. It is smaller than the size of Felicity’s Garden, and this is very deliberate. First of all, even though Felicity’s Garden will stitch one strand on #18 to perfection, one strand of Newport can also be added. The reason for this is the excellence of the spinning. These threads become self-accommodating. Yes, it is a little tighter in basketweave, but still acceptable, where two strands of Felicity’s Garden on #18 would be too much bulk. The smaller Newport thread does not produce a blending of equal proportion, which is exactly what we wanted. This is what makes the blending so interesting. The blending that is done with colors of equal depth will create shaded colors for Felicity’s Garden. The combination of Newport with colors that are not closely related in color density or color, will produce tweeded colors, and what we really liked was the resulting appearance of a woven fabric from the Hebrides or the Shetland Islands.
With Newport On Its Own
Color, is a very involved subject. One upon which entire volumes have been written. But, to keep this very simple and brief, I’m going to be very specific about the effects of color this yarn can have when used in combination of other yarns. For example, if you have worked a design that has mixed fibers, and perhaps a lot of yellow in the work, and you have chosen one of the Newports with yellow in it for a background, it will become even more apparent as your eye is already prepared to receive the yellow-color message. The yellow of the design will bring out the yellow in the Newport. This is as it should be, a very subtle message, but it is there. The effect is that the background choice seems excellent because it just seems to work so well, and really compliments the design itself. Another example is to use the Newport that has apricot in it, and watch the effect it will have on pulling apricots and pinks out of a design with these colors in it. The ultimate effect of this color messaging is to move the eye back to what is the main part of the design. This is art, and you are the artist.
Twist is another important factor in what keeps a single yarn together. The spun halves that comprise a single can appear strong, but if one attempted to stitch with one half of a single, it would simply pull apart within a few stitches because it has no twist to give it strength.
The environment where merinos are raised can also affect the outcome of this fiber. The use of this wool goes far back into the mists of antiquity. Of course, there is a wealth of conflicting accounts as this fiber is followed through history.
Briefly, it is said that there were merino sheep in Mesopotamia between the Tigris and the Euphrates, also known as the site of the Garden of Eden (modern Iraq). From here, the Phoenicians took them to Anatolia (modern Turkey), Greece (in the well-known myth of Jason, the Golden Fleece was that of a merino), Italy and North Africa. In North Africa, they were cared for by the Berbers, makers of fine wool and cloth. At the start of the 8th century, the Moors brought the breed to Spain. It was these Moorish woolworkers who brought the secrets of this trade through the Dark Ages. It is also thought to be possible that the merino breed came from a cross-breeding with Cotswold sheep, a British long-wool breed. The word ‘merino’ means “thick curly hair” in Spanish. It is also said the word is from the Sierra Morena Mountains, where in the foothills these sheep were raised. There was also, it is told, a family in Morocco with the name of Merino who raised these sheep. This wool has always been highly regarded by flock owners. Spain threatened death to exporters of these sheep. Nonetheless, some were smuggled out.
Through these flocks developed the merinos that we know today. The first merinos were brought to Australia in 1797. In 1850 they arrived in North America. The main types of merinos developed outside Spain were; the Saxony merino, which was from the Negrett breed; the Silesian or German merino, which were from a cross-breeding of the Negrett, Escurial and Infantado; and the Rambouillet, or French merino, and this is suspected to have an infusion of long-wool blood.
The Vermont and Delaine were of U.S. development. The Debouillet was developed in New Mexico around 1920. In 1814 a few merinos were brought from New South Wales, Australia, to New Zealand. This valuable gift was was not recognized for what it was. . . they were eaten. Today in New Zealand, merinos represent only about 3% of the entire sheep population, which current estimates have at 67.5 million head. Today the sheep are raised for wool.
Merino is a very fine fiber with a “crimp pattern” looking almost like corrugations. When a fleece of a merino is washed, as it must be in warm soapy water, it does not shrink. It was originally thought this would have been a pre-shrinking process, but this was not the case. It was soon discovered that the yarn if spun improperly could, however, shrink. When spun improperly, the fiber if it is not straightened when it is twisted, will trap the natural crimp of the yarn inside the twist. If the angle of twist is high, it is unable to spring back. With the crimp trapped, it will “bunch” within the twist. It will, with this happening, lose its wool formation and not have an attractive appearance. Also, yarn spun in this improper manner will have a high degree of shrinkage as the crimp is being held in a captive bunch. So, improper spinning can actually alter the natural ability of merino not to shrink.
What actually needs to happen is that a tension zone be created at the point where the twist enters the un-spun fiber. This has the effect of straightening the fiber at this critical stage so that once the twist is established in the yarn, the yarn that is relaxed, can now take up the pattern of the crimp, which then gives the potential elasticity. There are all kinds of additional tricks of the trade which our spinners have developed to create our product of such beauty and performance. Even allowing for the correct amount of “air space” is part of the perfection of a correctly spun yarn. Proper spinning also has impact on ultimate wear.
Merino is one of the whitest of wools, it would, however, appear as a cream color if compared with a synthetic. Merino can, however, with know-how through a dying process be whitened into even a range of whites.
The Incas discovered that by mixing alpaca fiber in with sheep wool, a much stronger yarn could be created. The fiber is eight to twelve inches long, and is coveted for its softness, fineness and luster. Natural colors are white, light fawn, light brown, dark brown, gray, black and piebald. The alpaca can only be sheared once every two years, which is one of the reasons for the fiber’s high value. Our dyers of Newport tried to let the natural range of colors reveal themselves in creating these basic colors of nature.
The hair of the alpaca
is stronger than sheep wool. Alpaca consists of two varieties of fiber:
soft wool-like hair, and a stiff beard on the outer hair. The most
highly sought-after alpaca is the Suri, a super-breed just as the merino
is the highest of sheep. The Suri is sought by the finest manufacturers
because of the long silky-fine staple. It also has the curl throughout,
which of course assists in the spinning process of quality yarn.
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