Being the only book of its kind might tip the scales somewhat, but I was hoping for a bit more.

I purchased a copy of A. K. Best’s, “Dyeing and Bleaching Natural Fly-Tying Materials” and spent last week intent on learning some of the differences in style and cautionary information the author has for prospective colorists.

There wasn’t a great deal of information for those having already trod that path. He is generous in the degreasing, he wears gloves, has been banished from his kitchen, and is overly fond of things he can buy at a supermarket.

… and he mentions a “dyeing room” while I’m dealing with Ma’s Kitchen – suggesting Mr. Best may be fastidious in preparation and clean up, and I may be the Oscar to his Felix.

Of interest to me was the use of coffee urns, stainless steel food containers, and hot plates as a heat source. I assumed he’d slurped something onto the Missus’s linoleum and he’d been banished from the kitchen much earlier in his dyeing career, and these implements were forced on him as was the garage.

Hot plates are something I don’t use much, only because of all the apartment fires they caused in my youth. Considering their built-in thermostat it would give more precision to a heat source than raw flame and a thermometer. You’ll just have to remember to turn them off to be safe.

Small batches of material would dye nicely in a 12 cup coffee urn, as it would preserve both dye and keep the dye liquid small and manageable. Nor would it hurt to have a few extra nearby should the real coffee urn take a tumble and shatter. Glass cleans so much nicer than metal or porcelain lined containers – and is impervious to salt as well.

As a first book on dyeing the text may offer good service. Its focus is almost entirely using RIT dyes, and while mentioning Veniard (acid) dyes, there’s not a lot of discussion on frailties or virtues of one over the other. RIT being as close as the local store and therefore gets the nod.

Which is a disservice to the pupil, as RIT and Tintex have their moments, but the acid dyes possess superior color to their salt-fixed brethren, and so long as you don’t shirk from mail order are every bit as available.

There is some brief discussion of the virtue of the artist’s color wheel, a chapter with a dozen RIT-based formulas for common fly tying colors, another on stripping chicken and peacock quills using bleach in a destructive manner, but discussion was largely superficial, with not a lot of material on the all-important why’s of the colorization process.

I would have expected some thoughts on color from his fishing experiences, perhaps a dab on color as compared to trout vision, or a mention of how colors perform with water depth. Instead the last couple of chapters were devoted to biots and fur blending, and offered only brief commentary, about as long as a magazine article.

I thought biots were an odd choice for a dyeing book as there’s nothing terrible special in dyeing them compared to any flight feather, and a much larger text is necessary to address fur dubbing. Five pages wasn’t much of a treatment given the permutations and use of color possible with furs and mixing different fibers.

The chapter devoted to color removal was my favorite. It’s one of those odd tasks we don’t get to practice very often, as most of our material preparation involves adding color versus removing it. Learning that bleach behaves differently on clothes versus raw fibers, is one of those painful lessons learned once and never forgotten.

I suppose when your kid shows up at the door and reveals the blue lightning bolt down his scalp – it’s nice to know what options you have in the matter.

In summary, I find the book useful but odd. Two or three topics that don’t belong well with the overall topic, which should have been omitted to make room for resources a budding alchemist could leverage to perfect his craft, or a bit more on the science of color, or perhaps more recipes and photos of color samples.

Most of the work relies on references to RIT and Tintex colors which were common when the first edition was published in 1993. As most dye companies add and subtract colors routinely, and what’s left of the Tintex company is in Australia – some of the colors referenced may no longer be available.

It’s a “good” starter book and nothing more. As it’s the only thing available on the topic written for fly tiers, it may warrant a second look.

Full Disclosure: I purchased the book used from Amazon.com. The price for a second edition hardcover was $17.00 in excellent condition.