In Part 1 we covered most of the dyeing process – and the difficulty associated with matching a known color.  The steps are the same for dyeing anything; first a cleanse and prep of the original material, followed by immersion in hot water so the shock of the dye bath doesn’t induce physical change.

Feathers are difficult because much of the time you’re dyeing loose materials, which can cause problems with their tendency to float – and your tendency to chase every last one, while the mass continues to darken even though its been removed from the dye itself.

By comparison chunks of hide are much easier. Furbearer’s may have some natural oils that prove resistant, but as you’re dealing with a single swatch you can pull it and rinse it as often as you like.

In essence, the hide chunk itself becomes the “test feather” – pulled routinely and rinsed until you have the desired color.

Big animals contain all manner of dirt, nettles, and dried guts or blood. If you’ve been gifted by a hunting buddy, you may have a lot more preparation work to get the hide suitable for coloration. This may include scraping all flesh and fat off the hide with a grapefruit spoon (serrated) before adding Borax or cornmeal and stretching the hide to dry.

 

Other concerns are the age of the hide and its integrity. A hot dye bath and a vigorous clean and dry can be enough to break apart an old hide – especially Polar Bear, whose last legal importation was in the 1970’s.

We’ll repeat the process used on the feathers for the Polar Bear shown above, and in doing so – I’ll get to test a new color of Jacquard acid dye to get some familiarity with the vendor and their idea of Chartreuse.

As mentioned in Part 1, each vendor has a different palette and the label is a reference color – not a guarantee of the outcome. Chartreuse being a yellow tinged with green, I’m going to test their dye on a small piece prior to dyeing a larger amount.

The cleaning process is identical to feathers. A little dish detergent into the soak bowl, followed by agitation to remove any dirt particles at the base of the hair.

Always handle the item by the hide. Most hair is dyed for the tips and not the underfur. Gripping the hide will allow you to feel it break up, if it’s an old hide, and will not bust up the tips which is the portion we’ll be using on completed flies.

Rinse the completed section two or three times to remove the soap. Refill the soaking bowl with clean water and return the section of hide to it.

The Fur Difference:

Where dyeing feathers and fur differ, is that hides trap lots of oxygen in the underfur and matted hair. All of which must be removed before we can insert the piece in the dye bath.

Arrange the section “fur side down” and press your knuckles against the back of the hide to force out the oxygen. Do not allow the piece to surface. Rhythmically press down firmly and release (leaving the piece completely submerged) until no more bubbles escape.

It’s no different than loading a sponge. By pumping the back of the hide we’re pulling in water to replace the released oxygen, super-saturating the entire piece.

We do this to ensure that when the hide is placed in the dye bath, the pigment can reach all of the fur simultaneously. If it can’t, some sections will be darker than others.

Similar to those strung saddle hackles or Marabou you buy in the store. The tops are nicely dyed Purple, or whatever color purchased, but the butts are mottled with undyed sections of white. This is a result of not supersaturating the material. The dye hit the top three-quarters of the hackle while the butts retained oxygen, preventing color from soaking into the feathery marabou at their base.

The piece above is now supersaturated, note how it remains on the bottom.

Like the feathers we’ll add the piece to the dye bath without draining it. That will allow the dye to replace the fresh water uniformly, and the piece will be the same tint in both underfur and guard hair.

At right, we’re adding the Polar bear into the dye undrained.

Chartreuse being a mixture of yellow and green, I will expect to see the material yellow immediately and the green to alter the shade over time.

Yellow is one of the rare colors that’s nearly impossible to screw up. It can be too dark or too light, but always “yellows” successfully. Because this is a new vendor and a dye I’ve not tried before, I’ll be alert to color change. If anything goes wrong the piece won’t be ruined, I can use green or yellow in flies, so there’s little risk.

It’s been in the bath less than thirty seconds, yet I’ll it to measure absorption. The super-saturation is evident by all parts of the hide, underfur, and tips, are receiving color.

A bit scary to see so much green”? No.

Many complex colors are a mixture crafted to deliver pigment over time. Most would think a Chartreuse dye would be predominantly yellow, yet it’s the opposite – a Kelly Green color.

I’ve always assumed it was the absorption rate that dictated mixtures and bath color. Yellow absorbs instantly, green having to fight its way past the yellow to lay itself down. Hence the Kelly green is added to overpower yellow.

Unless it’s Rinsed it ain’t that color

Polar Bear is a unique fiber, essentially a hint of color surrounded by a transparent sheath. Like most guard hair it’s a really tough material, and will take color slower than underfur, which is similar to feathers in absorption.

Color can only be confirmed after a rinse. Like our pulling of sample feathers to check the coloration, hair must be removed and rinsed to confirm its hue – as the fibers themselves are much tougher and resistant to color absorption. 

I’ve held the piece above the bath allowing the dye to drain out. It looks like a good chartreuse (note the underfur is dyed completely down to the hide – no white “roots”).

Rinsing will determine whether I’m done.

Holding the hair so the water is going in the same direction as the grain of fur, rinse it under cold tap water while alternately squeezing until the water runs clear.

Cold water will close the pores of the material and the steady stream of water will cease coloration.

I have a nicely dyed piece of Yellow Polar bear, the chartreuse is largely gone.

Note how all the green seen in the above slides has vanished. Also note the fur is dyed completely, all the way to the hide.

Did I screw up the dye bath? Should I add more dye, more heat, or more fixative?

The answer is found on the back of the hide. Remember, we’re dealing with a vendor unfamiliar to us, likewise with a color of his we’ve never attempted …

Shown at right is the back of the hide, which has the telltale clue.

The hide itself is green, not yellow. That tells us that all colors of the dye were activated properly, and the result is likely what the vendor has chosen as Chartreuse.

There is a tiny hint of green in the color (your monitor may show it differently), given the material is soaking wet I’ll dry it completely and assess the color tomorrow, when all the variables will have been eliminated.

Hides curl when dried – and it won’t matter whether the skin was naturally cured or tanned, it’ll roll up like a potato chip if you let it. Always tack the piece down on the corners using pins and cardboard so that it will dry evenly and remain flat.

Cardboard will wick water from the hide and assist the drying process better than wood. I’ll cut up a box and stake out all the pieces before taking them into the garage (or outside) to dry.

Note the uniformity of color in both guard hairs and underfur. No white splotches at the base, no slop.

… and the sign of success? Those nice pink fingers shown in all the illustrations above. Skin is protein, and will take the dye really well, expertise is judged by the color of your fingers – as that determines the color of your spouse’s kitchen and her precious linoleum.

Always wipe down the countertops and sink area. Dry dye powder can occasionally escape – and won’t become activated until something wet hits it. Better you to find it now than eating jaundiced Cheerios …

Tags: Chartreuse acid dye, dyeing polar bear, protein dye, dye bath, dyeing fly tying materials, marabou, strung saddle hackle, fly tying materials, fly tying

The next time the wife complains of gray hair or dark roots you can leap to your feet and assist. Fiddling with Madam’s hair being a case of “come back with your shield, or on it” –  so you may want to practice a wee bit before restoring her lost youth …

Dyeing materials can be the easiest thing you’ve ever attempted, but it can also be the end of your relationship and the complete destruction of considerable high quality tying materials.

Despite all the complexity, coloration can be broken down into two real requirements, the first is easy – I need some red hackle. The second is incredibly difficult – I need some more of the same color.

Dyeing a primary color is easy. Buy the dye in the color you need, follow the labeled instructions, add fixative, and dry the mess out. Matching a color is much more difficult. The fellow that made it may have used a different vendor for his dye, dipped it for an unknown length of time, and you’ve got to reverse engineer that color back out of your pot – which is not trivial.

The Big Two:

For animal parts, furs, feathers, hides, and anything else natural (except plant fiber), you can use the commonplace dyes available in your supermarket, like powdered or liquid RIT – or you can use coal tar dyes – also known as “acid” or “protein dyes.

Each has its preferred fixative, RIT uses table salt – and protein dyes use any weak solution of acid. Muriatic and Acetic acid are the most common fixatives, you know them as white vinegar (5% solution of Acetic acid), and Muriatic is (a 10% solution of Hydrochloric) sold to properly PH your swimming pool. Both are readily available and cheap.

A whiff of Muriatic is most memorable, the inhale starts and the body instantly overrides the mind. If you don’t already have a swimming pool (and don’t care for noxious chemicals) stick with the plain white vinegar.

Each dye vendor has a completely different range of colors and compounds used to make them, which can add some unneccesary complexity when mixing and matching. It’s best to  pick one as the source of all your colors, relying on a combination of written notes and familiarity with his colors to breed consistency quickly.

I’ve recently changed to Pro Chemical & Dye as my protein source. I can buy dye in pounds or ounces, and the prices vary by color. If you remember your history books, different colors are the result of different rare earths and minerals, some being more expensive than others like Cobalt, which is why their pricing is disjoint.

… and the range can be significant. Coral Pink is $2.40 per ounce, and Yellow is $9.00 an ounce. They also have a full range of odd fixatives, dyes for synthetic fibers, instructions on use, and a great complement of detergents and degreasers.

RIT is somewhat self explanatory. You get what the supermarket or craft store stocks. Most salt fixed dyes recommend non-Iodized salt, but they plainly state that table salt works just fine.

The Strong and the Weak

Each of these types of dye have strong and weak points – and rules that you must follow religiously.

Rule #1: Salt-fixed dyes (RIT, Tintex) should only be used for earthen or pastel colors – never used to make bright or vibrant color.

There’s good reason for the above. RIT is a weak fabric dye and salt isn’t much of a fixative. If you think of the molecular level, the pigment has to “stick” to the filaments you’re dyeing, and the fixative is largely there to “score” the fibers and let the dye attach itself permanently.

Salt is really quite toxic in high concentrations so it acts like an acid, it’s just not a very good one.

Tan, Light Brown, Pale Yellow, imitation Wood Duck, gray, light Olive – any of the lighter shades of natural colors will allow RIT to do a serviceable job. It’s quite capable of dark colors as well – but stick to the Brown’s, Yellow’s, some Olives, and the warm end of the spectrum.

It also helps to use pure white materials when using RIT as it lacks the muscle to overpower tinted or off-white materials. In more advanced processes we can use this to our advantage, as in the Bronze Blue Dun neck -which is largely medium gray with a brown tint.

Rule #2: Bright, vibrant, or fluorescent, should always be Protein dyes.

Largely for the reasons stated above. Weak solutions of acid can better penetrate fibers and therefore deposit more pigment. If you’re after the steelhead colors; Purple, Red, Orange, and Green, and you need them vivid – stick to the protein flavor.

The Hidden Color Story

Rule #3: The color on the package is called a “reference color.”

This is where most of you will make the first hundred dollar mistake. You’ll dye a little rabbit fur or marabou and have some success. Emboldened, you’ll reach for an immaculate #1 Whiting Cream neck and match it with a medium Gray dye …

… and tears are the result.

The package is labeled with one of the many possible colors you may get. It’s not the color achieved by flinging the entire box into the water followed by a shovel-full of salt.

In my experience the reference color, that displayed on the packaging, is about halfway down the possible spectrum. That’s why your Whiting neck is now a rare color of soot…

Rule #4: Meathead, Read the Goddamn label.

RIT dyes plainly state, “this approximates the color achieved when adding one pound of fabric to the dye bath.” As your precious $75 is now soot-black, it’s your own damn fault.

Think about the weight of the material you’re about to dye and contrast that to the “one pound of fabric” that small package is intended to color. Adding a single box (or bottle) to the pot is about 6 times too much dye, giving you four seconds where the color was acceptable, and you missed it and it’s enroute to Ebony.

Let’s blacken Mama’s Kitchen shall we?

As the principal cook and bottle washer I’m allowed special dispensation in my kitchen – and can extricate myself from Hell’s fiery grip with the next gourmet meal…

If you aren’t similarly situated then you’ll just have to be cleaner than most.

All dyeing should be done in porcelain lined pots or stainless steel. There’s plenty of sour, odiferous, and caustic elements you’ll be juggling – so you’ll be buying these pots rather than using Mama’s.

You’ll need wooden spoons, Barbeque tongs, a Chinese deep fry strainer, and perhaps later – a candy thermometer. Most of this stuff can be scored at garage sales, so while walking the dog keep your eyes peeled. The above links are reference only, not a recommendation.

The deep fry strainer is for loose fur and feathers. You could also use a permeable bag of some sort – but this is how you’ll remove all the individual items from the dye bath. Tongs are needed for the larger single pieces – like chicken necks and saddles, or chunks of dyed hides. Remember all this stuff will be hot, so try to get wooden handles on everything.

A candy thermometer is needed for synthetics mostly. Most of them melt over a certain temperature, so you’ll need to constantly adjust flame to avoid exceeding the temp listed in the material data sheet.

Many vendors provide material data sheets on their web sites, and you can look up the melt point on a yarn or synthetic fabric easily. As most of the synthetics in fly shops are “super secret” – stolen from another industry and relabeled … well, good luck.

My entire kit cost me about nine dollars, as I’m the Scourge of the local Goodwill franchise.

You’ll use plenty of paper towels, a little dish detergent, and you’ll want hand sponges to mop up the slurps and spills, so lay in a different color than you use around dishes and food.

Rule #5: Hide all this from your spouse. If she sees all those cleaning products she’ll take it as proof that “love can change him” – so she’ll redouble her efforts after she recovers from her faint …

The Mark of the Professional is not success, it’s pink fingers

I’m going to leave the simple colors for your experimentation and head straight for the difficult and frustrating. We’re going to attempt the dreaded, “Lemon dyed Wood Duck” with only the Medium Bronze Blue Dun killing more quality feathers …

The Color Theory Component: Lemon Wood Duck can actually be dyed more than one way which shouldn’t be too surprising. Complex colors offer multiple paths to a single shade.

As Lemon Wood Duck is a tan/yellow tint we can start with tan and add yellow, or start with yellow and add tan. Pretty simple sounding, but dye concentration and timing are still wild cards.

I’ve selected RIT for the task. RIT does good pastels and earth tones, and it’ll allow you to put the “death rattle” in your relationship if you wish to follow along.

I chose Golden Yellow as there’s a hint of amber to some flank feathers, and a hint of orange is in the dye to assist me in that effect.

Feather Preparation: I’ve got a Blue Winged Teal and Gadwall mix left from last season. Both have the beautiful dark markings I like, and as a bonus I can use these feathers to make Bird’s Nest’s as well.

Waterfowl are one of the hideous feathers to dye. They’re full of grit, blood, and natural oils, and should be thoroughly soaked to get them cleansed and waterlogged. (I’ll cover the water logged component in the next installment when we do animal fur)

Prepare a bowl deep enough to get the feathers submerged using cold water and about half a teaspoon of regular dish detergent.

For added realism you can use Lemon Scented …

Once you given the feathers a vigorous wash (evidenced by the detergent bubbles at left) lay the deep fry strainer over them and let steep. The more water we can soak into the feathers the better.

After about 30 minutes of soaking rinse the feathers clean with about three passes of clean water.

Now we’re ready to get dirty.

In your porcelain pot add enough water to cover the amount of feathers you’ll be dyeing. You’ll want enough to keep them underwater as much as is possible.

Get the water hot enough so there’s plenty of steam coming off yet no evidence of boil. Set your flame on low from here on.

Drain the water from the feather soaking bowl and refill it with hot water from the tap. This ensures the feathers are hot when moved into the dye pot and reduces any shock to them caused by the move from cold to red hot.

Do not drain the feather water, we’ll pull them out of the water and plop them straight into the pot completely soaked.

Both writing and dyeing proves Less is More

We’re not dyeing a solid color, rather it’s more of a tint. We’ll use a “less is more” approach identical to the coffee brewed at your workplace. We’ll start with a woefully inadequate amount of coffee dye and gradually strengthen it to what’s needed. It allows us pinpoint control over the mixture because too little dye won’t color anything – and more importantly, it won’t color anything quickly.

Your starting amounts are dependent on the amount of feathers being dyed and the volume of water used. As you are likely doing a different amount start stingy, add more as I will.

I’m starting with a tiny amount, one teaspoon of powdered RIT tan, and one of the Golden Yellow.

Mix the colors in your water and add about 1/2 cup salt as fixative, swirl until everything has dissolved cleanly. The dye bath is weak so chances are you can still see the bottom of the pot.

With the deep fry strainer, remove all the feathers from the soaking bowl and get them into the dye bath. As the feathers are pre-heated the tips won’t curl when the hot water hits them.

Pick a good reference point, and consider the Physics

The softest material of the feather will pick up the dye first, and the Physics of wet feathers means they’ll be two to three shades darker when wet than when they’re dry.

I’ll watch the duck “marabou” at the base of each feather as my initial color indicator as it will absorb color before any other element of the feather. This will be my clue that the feather portion is starting to take on color.

I’ll shift the color watch to the feather tips once I see the marabou start to darken, as the tip is the portion I need to match to the real duck. Once the tip starts taking color, I’ll pull all the feathers when they’re about 3 shades too dark.

Sounds pretty simple.

Start adding more dye. Add one more teaspoon of tan, and one more teaspoon of golden yellow. Keep the feathers agitated and off the bottom of the pot. Anything touching the bottom of the pot for any length of time will curl or burn, so make sure you pull the stirring spoons out of the pot when not in use.

At intervals pull the strainer through and examine the effects.

After a couple minutes with little effect, add another teaspoon of each color. Mix each addition thoroughly to ensure consistency of color, while keeping your eyes peeled on the marabou.

The picture at right, above – shows the marabou starting to take on the tan color, not the yellow. We can’t afford to add anymore tan – so we’ll match the color by adding more yellow.

Add teaspoon of yellow. Marabou still tan. Add another teaspoon of yellow, marabou shows warming trend – so we’ll add one more teaspoon of yellow, and add nothing more. This eliminates all variables save the immersion time.

The Kid’s Hammy Hands were a blur in the Noonday sun

Yank a test feather from the dye bath and dry it by mashing it between paper towels, move quickly to fluff the feather out for inspection – as color is still darkening on the pot contents.

Looks good, but damp (nearly dry) feathers are one shade darker than bone dry.

We can see from the picture at left that the yellow is deepening and the tan has remained constant.

Pull another feather every minute until the nearly dry version is exactly one shade too dark. Refill the soaking pot with cold fresh water in the meantime. We’ll be yanking the feathers from the dye bath and dumping them straight into the soak bowl. The fresh water will dilute any dye remaining on the feather and they’ll cease the coloration process.

The all-important Yank and Cleanse

Kill the fire under the pot and with the deep fry strainer gather everything and immerse it into the soaking bowl. It’s critical not to chase the few feathers left in the pot, since every moment you’re fiddling the mass of feathers can be darkening. Grab the easy stuff and start the rinsing process.

Like the detergent wash, you’ll want to run about three passes of fresh clean water through the soak bowl. Agitate and squeeze the feathers until the water ceases to yellow.

Now wash one more time because salt really sucks.

Salt fixed dyes can be an irritant to the tyer if the feathers are not cleansed enough. You’re busy tying Quill Gordon’s and wipe the back of your fingers across your eyes – leaving just enough salt to irritate them. Three passes for the dye, and a fourth for salt.

After all that pain and suffering here’s the final result. The feather on the left is damp and should lighten about one more shade when bone dry.

… and if my count is accurate the final formula was 5 teaspoons of golden yellow and 3 teaspoons of tan RIT.

Remember that each computer monitor will render a color palette differently, so I can’t promise what you’ll see. From my perspective I’m looking at a near match (once completely dry).

Dyeing your own materials is one of those final hurdles for any tyer aspiring to great things. If hurried it can also be the source of massive pocketbook destruction.

Many years ago I had the responsibility for dyeing most of the materials that the different shops stocked, and my scorched and maimed mistakes hidden in the trash where the Boss never looked. Most shops no longer do their own work, relying instead on prepackaged vendor colors instead of the fellow in a back room screaming from the dye bath emptied on his crotch.

Little wonder, that.

In the next installment we’ll cover acid dyes and animal fur, and while most of the preparation is identical there’s still a few tweaks you’ll need to know unique to hair and its coloration.

… and as this was in response to a reader request, if you have anything else you’d like me to cover, be sure to ask.

This is the “get out of Jail free” card, less you think I was emboldened to the point of invulnerability. One careless misstep with the dye bath, one slopped pot of duck feathers on the kitchen floor and the “Grim Sweeper” will come off that couch like a Thunderbolt ….

The recipe is more like 50-50 tan versus golden brown, and yields mostly dark meat – jaundiced actually, but she saw the detergent and sponges and has big stars in her eyes …

Tags: Lemon dyed Wood duck, RIT dyes, how to dye fly tying materials, how to enrage your spouse, Tintex, Teal flank, Gadwall flank, deep fat strainer, porcelain dye pots, coal tar dyes, acid dyes, pro chemical & dye, bulk fly tying materials, feather preparation, dyeing feathers

It was a cup of coffee that fixed my issues with upland birds and waterfowl feathers. Cal Bird had a taste for strong brew and the shop’s pot was always bubbling ..

I was usually the first person at the store and figured that if one of those neatly trimmed Styrofoam cups made the brownish “ick” we drank yesterday, three or four of them should make real coffee, the kind that explodes a sleepy employee into a dynamo…

… like Popeye and spinach, only warmer.

Cal would show on Saturdays with a wreath cake and watch me struggling with some small bit of dander, and in between my fits of childlike petulance would show me the better way of doing things.

Cal was inordinately fond of upland birds and waterfowl as they possessed the most desirable color schemes and mottle effects, yet  Mother Nature never saw fit to size them to suit our needs. All the best markings and coloration tend to be on the larger flank feathers which are much too long for small flies. Breast feathers are smaller, but small being synonymous with fragile – and markings are much lighter and can be indistinct.

I’d be struggling trying to fit a #6 partridge hackle on a #14 hook, with him smiling and offering encouragement, and as I mangled the feather into a semblance of functionality he’d point out how I could do so with less cursing. Part and parcel of the Consummate Gentleman, as he always had a kind word for everyone.

On one such Saturday he showed me what he called a “distribution wrap” – making no claim to its invention, but making my use of upland birds and waterfowl feathers much less formidable…

Single Segment: If you’ve got a feather with only a single side that has roughly equal length, you can trim that segment from the feather to make your hackle.

Just measure the length you want the body hackle and press the segment against the hook shank with your left thumb. See below.

The thread will be our instrument to move the fibers around the shank. We’ve a tenuous hold on them and will allow the thread to take them completely around the shank. If we using the three-turn anchor, we can wrap those turns loosely, and position fibers to cover the bare spots before securing the material tightly.

I’ve dropped the forefinger on the top to start the material curling around the shank. Take a slow loose turn with the thread to complete.

The thread has trapped fibers at the top and is moving around the far side to populate the hackle. My fingers are there only to stop the motion and hold everything for the camera.

Once the fibers are mounted and anchored, if you take additional slow turns in the direction of the body, you can redistribute the hackle with each turn. Once the coverage is to your liking, wind only toward the eye.

After taking additional wraps towards the body (and redistributing the material) I have the hackle to my liking. Now I’ll dub the thorax and finish the fly.

The finished teal hackle. Mother Nature doesn’t always assist us with small hackles, sometimes we have to get “medieval” on the raw materials to yield what’s useful.

This same technique can be used on most upland bird hackles and all species of waterfowl, but a lot also depends on the kind of hackle you’re attempting. The above fly has the luxury of a dubbed head which hides all my thread. I’d be much more precise with my thread if the hackle was the last thing on the fly.

Tags: Cal Bird, distribution wrap, teal hackle, soft hackle, strong coffee, wreath cake, fly tying, fly tying materials, teal flank

My first commercial order was for two dozen Adams. I was 16 at the time, and quality control was letting the glue dry and giving it a couple of half hearted tugs – followed by a rigorous review of proportions.

By the time I’d completed 24 flies that passed muster I’d actually tied about 60 – and suffering through 60 flies of the same size and pattern was pure torture to a fellow that tied something different everytime he sat down.

It would be the better part of a decade before I could face the Adams without cringing, which is why the Mosquito figured so prominently in my angling development.

Hackle tip wings were my undoing. Grizzly specifically, and the lessons learned on that first order apply to the many flies since. Thousands of patterns pair materials for wings, cheeks, or body components – and attention has to be paid to the coloration of the pair chosen, as their mottling and coloration can make a perfect fly look less so.

Color can visually deceive the eye into thinking your proportions are wrong.

The above picture shows us a “bad pairing.” The hackles themselves are fine – their coloration is good, but using the above pair will make the fly’s left wing appear shorter than the right.

It’s the tips of the feather that cause the issue. The left feather is tipped in black, the right feather is tipped in white; using the two together will make the left wing appear shorter. Add in the hackle in front of the wings – a mixture of brown and grizzly that will bust up the barring of the wing segments and exaggerate the color difference further.

Here’s another pairing that will eliminate this simple problem. This “right” feather was next to the other “righty” above, yet has a black tip. Note how the bars are matched exactly with the left feather. This pairing will yield an Adams where the colors don’t upset the balance.

From the quarter view above, nothing really looks amiss. Wings are cocked and extend above the hackle, both look equal length, and proportions look solid.

Here is where the problem displays itself nicely. The black tipped wing (right) vanishes leaving only the last white segment visible. The white tipped wing (left) is strident and obvious, making the left look much too short.

Color. Normally it’s your friend but occasionally it can diminish or enhance a feature and throw your nicely tied fly into a tizzy. It’s the last thing to check before wrenching those precious hackles off the hide.

Tags: Adams, dry fly wing, grizzly hackle, fly tying tips, dry fly proportion, Mosquito,

My lampooning of dry fly fishermen is well documented, so I thought I’d take my comeuppance like a Man…

I’ve got a half dozen experimental colors of “Dubbing X” made, about an ounce of each, all hand made at the cost of most of my fingernails, lots of swearing, and the skin of both forefingers…

A medium gray (Adam’s), a Blue Wing Olive, Pale Morning Dun, Upper Sacramento Pink, and an Ocher. The above are the California colors for those insects and may not be correct for your local watershed.

An “accidental color” is one that occurs while learning an unfamiliar dye process, where you’ve written the material off thinking nothing good could come of it – didn’t write down the formula, so you can’t reliably make it again … and it turned out pretty darn good – which was a complete shock.

… and then you destroy both fingernails and flesh in a series of ill advised attempts to render it to base fur before finding some process that partially works.

I could use a little feedback on the next Great Dry Fly Dubbing, drop me a note and I’ll toss some in the mail.

This is only for dry fly use. The material floats without assistance (specific gravity less than 1), and is a micro-filament – or “Nano-dubbing” as OldTrout58 calls it.

… while supplies last – I’ll need time to regrow some fingernails before the next batch.

Tags: Dubbing X, dry fly dubbing, Blue Wing Olive, gray, Pale Morning Dun, fly tying materials, Upper Sacramento pink,