The Project Gutenberg EBook of How to Tie Flies, by E. C. Gregg

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: How to Tie Flies

Author: E. C. Gregg

Release Date: October 20, 2009 [EBook #30292]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO TIE FLIES ***




Produced by Hugh T. Mitten

HOW TO TIE FLIES

HOW
TO TIE
FLIES

BY

E. C. GREGG

DRAWINGS AND PHOTOGRAPHS BY THE AUTHOR


A. S. BARNES AND COMPANY
NEW YORK

Copyright, 1940, A. S. Barnes&Company, Inc

THIS BOOK IS FULLY PROTECTED BY COPYRIGHT
AND NOTHING THAT APPEARS IN IT MAY BE
REPRINTED OR REPRODUCED IN ANY MANNER, EITHER
WHOLLY OR IN PART FOR ANY USE WHATEVER,
WITHOUT SPECIAL WRITTEN PERMISSION OF THE
COPYRIGHT OWNER.


PRINTED IN THE UNITED STATES OF AMERICA

CONTENTS

{vi}

Diagram 1

{vii}

INTRODUCTION

The object of this book will be throughout its entirety to teach in a practical manner the art of Fly Tying in all its branches. The principles used herein, and the methods of construction employed, are those used by the professional fly-tier who practices fly-making for the sake of art, and tries to achieve with each finished fly, a masterpiece.

None of the short-cuts employed by those whose business is quantity production will be attempted. Only the making of flies of the very highest quality and most durable construction will be attempted. In describing the principals of construction with the following illustrations, it will be impossible to describe in detail each standard pattern; however, it must be remembered that the fundamentals applying to each style of fly will be the principal bases of construction of all flies of that style, and that the use of different body materials, hackles, wings or size will simply change the pattern and not the fundamental points of construction.

Dressings for hundreds of standard patterns will be found fully described elsewhere in this book. For clearness {viii} of understanding please note that where a fly is described in this book as having grey wings, or red body, etc., and no particular feather or material is specified, it means that any feather or body material may be used. When a particular feather, body, hackle, tail, etc., must be used it will be so stated.

Each year a steadily increasing number of anglers are learning to tie their own flies. Not many years ago, there were few in America outside of professional tiers who understood the art. Now on each angling trip, at least one is sure to be met, who has discovered the great thrill of taking fish on flies of his own tying.

To those who are anticipating the making of their own flies for the first time, there is the opportunity to exercise one's ingenuity in the creation of new patterns. To prolong your fishing seasons throughout the long winter evenings, in the confines of your own den, where, with a supply of fur, feathers and tinsel, can be enjoyed a profitable, artistic and pleasant hobby. And the thrill of seeing in each finished imitation of Ephemeridae, Muscidae and Formicidae, a masterpiece to bring the joy of living and dreams of spring to the angler's heart.

Beginners are requested to reject any inclination to skip over the first part of this book, nor to attempt the tying of the more delicate and difficult dry flies before they have had sufficient preliminary training. {ix} This book is so written that the easier flies to make are the first encountered. Although you may not expect to use Bucktail Streamers, the fundamental principles employed in their construction, the knack of handling fur, feathers and tinsel, will be acquired, and a sense of proportion will be realized. I sincerely encourage you to begin at the beginning, and by careful and patient study the satisfactory result will be the ability to make flies that are second to none.

The illustrations in this book are all drawn to correct proportions except the tying silk, which is purposely drawn large for clearness of illustration. Follow these illustrations, and begin by making a very careful study of Diagram 3, "Bucktails" (page 15). Here will be learned how to overcome some of the difficulties encountered by beginners. Many of the fundamentals learned in tying Bucktails are used in tying all of the flies to follow. For instance, in putting the wings or tail on a wet fly, the same method of holding the wing between the thumb and finger and making the loose loop, are explained as when putting the hair or tail on a Bucktail. Putting the wings on a fly correctly seems to be the greatest difficulty encountered by the beginner. Consequently, the necessity of carefully studying Figs. 4, 5, 10, and 11 of Diagram 3 cannot be too greatly emphasized. Before tying any other part of the fly, place a bare hook in the vise, and practice tying on the tail, {x} and then the wings, until you have mastered this knack, and have the wings and tail setting straight on top of the hook, as in Figs. 4, 5, 10 and 11 of Diagram 3. First using hair and then a section of feather.

Other faults of the beginner where literal descriptions are followed entirely or where illustrations are not drawn to correct proportions or followed closely are as follows. The wings are usually too large, and much too long for the size of the hook, and the tail is most always too long, as are the hackles. The bodies seldom have a nicely tapered shape, and most always start too far back on the hook shank. The ribbing is seldom put on in even tight spirals. The hair on hair flies is always too long, and too much is used. The head is too large, because the tying silk is not wound tightly and smoothly. The eye of the hook on the finished fly is filled with hair, tying silk, hackles and cement.

I do not mean to criticize these common mistakes of the beginner. Instead, I merely wish to call them to your mind, and assure you that they are not necessary, and will not happen if you will diligently follow instructions in this book.

{xi}

Diagram2

{xii}

Tools two-thirds actual size

{1}

TOOLS, HOOKS AND
MATERIALS

Very few tools are required by the Fly-Tier. Those that are necessary are inexpensive, and most of them can be homemade. However, as with any other craft good tools are an asset. I advise the beginner to procure the following:

TOOLS

Fly-Tiers' vise. There are many styles of fly-tying vises on the market. The simplest is just a slot cut in a 3/8" piece of square steel with a hacksaw, and a thumb screw to tighten the slot. This type of vise will work all right, although rather clumsy and hard to tighten enough to hold the hook truly. Another simple vise is just a small pin chuck, soldered to one end of a 1/4" brass rod, bent at the desired angle, and the other end of the rod soldered to a small C clamp. However, I prefer a vise of the cam lever type. That is, a vise that has a cam lever for opening and closing the jaws. These vises, of which there are several makes, are {2} adjustable to various angles and hook sizes. They will hold all sizes of hooks very firmly, and are easily and quickly opened with a flip of the lever.

Hackle Pliers. These can be purchased for about fifty cents and will prove a worthwhile investment, as they are rather difficult to make satisfactorily.

Scissors. One pair with curved blades and sharp points for small flies and one pair with small straight blades. A needle pushed into a stick, for picking out hackles that are wound under, and for putting lacquer on the finished head, completes the list of necessary tools.

HOOKS

Hooks used for fly-tying differ somewhat from those used for bait fishing etc., inasmuch as they are usually hollow ground, and tapered shank especially those used for dry flies. The tapered shank next to the eye allows the head of the fly to be tied smaller, and also reduces the weight of the hook, an advantage for dry flies. Of course flies may be tied on any style or grade of hook, but considering the work involved in making the fly, and realizing that with an old razor blade the fly can be quickly removed from the hook should the first attempts prove unsatisfactory, you will see the advantage in using good hooks.

{3}

Various styles of hooks used for fly-tying--actual size

MATERIALS

{4}

Materials used by the Fly-Tier cover an extremely large field. Although only a few simple and easily obtained items are necessary for a start, it is interesting to know that furs, feathers and body materials come from all parts of the world. There's the jungle cock from India whose neck feathers are extensively used on salmon flies and a very large percentage of all fancy flies. The golden pheasant from China, the bustard from Africa, the Mandarin wood duck from China, the capercailzie from Ireland, the game cocks from Spain and the Orient, the teal, mallard, grouse, ibis, swan, turkey, and hundreds of others. The polar bear, Impala, North and South American deer, seal, black bear, skunk, rabbit, squirrel, are a few of the hairs that are used. The beginner need not worry about the great variety. Some hooks, silk floss and spun fur or wool yarn and chenille for bodies, a few sizes of tinsel for ribbing, bucktails of three or four colors, an assortment of duck and turkey wing quills some mallard breast, an assortment of neck and saddle hackles, a spool of tying silk, a piece of wax, a bottle of head lacquer, and many of the popular patterns can be made. Numerous other items can be added from time to time, and the novice Fly-Tier will soon find himself in possession of a collection of fuzzy furs and feathers that will delight the heart of any professional, and from which any conceivable lure can be made to attract the denizens of the shady pools.

{5}

Body materials two-thirds actual size

{6}

BODY MATERIAL: Tinsel, Silk Floss, Fur, Chenille, Wool, Quill and Cork are used for bodies. The most commonly used for Bucktail Streamers is flat tinsel ribbed with oval tinsel or no ribbing at all. About the easiest body to make is one of chenille ribbed with tinsel. Silk floss is mostly used for wet and dry fly bodies. The domestic silk floss, which is called rope, can be successfully used for the larger flies, by untwisting and using a few of the smaller strands. An imported floss of one single strand, with a very slight twist, is especially made for fly-tying; this will work much better on the smaller hooks. Fur for fur bodies, which formerly had to be plucked from the hide, dyed the desired color, and spun on the waxed tying silk, can now be obtained in all standard fly colors. It is called Spun Fur, and is very convenient to use in this manner.

QUILL BODIES: Quill makes an excellent and very lifelike body, especially on dry flies. The quill from the eyed peacock tail feather is mostly used. That taken from the eye of the feather when stripped of its fibers has a two tone effect, and when wound upon the hook without overlapping makes a very lifelike and delicate appearing body.

{7}

Actual size

{8}

HERL BODIES: Both peacock and ostrich herl is used for bodies. These make a fuzzy body. Tie in one or two strands by the tip end and wind on edgewise.

HACKLES: These are the most important part of the dry fly. Only those from the neck of a mature cock are satisfactory. Hackles for the dry fly must be stiff with very little or no web. With such hackles a dry fly can be sparsely dressed as it should be and still maintain its natural balance and floating qualities. On the other hand, a wet fly should sink readily, and should be made with very soft webby hackles. These absorb water quickly, and have better action in the water. Contrary to the customary way to tie hackles on the wet fly, as explained in the chapter "Wet Flies", I find it very convenient and economical to strip the fibers from any size hackle, clip off the butt ends to the desired length and tie them on the bottom of the hook, the same as buck tail is tied on. As wet flies should have hackles only on the bottom or underneath side, many hackles that are otherwise too large can be used in this way.

TAILS: A few fibers from a golden or silver pheasant neck tippet, whisks from a hackle feather, a strip of wing or breast feather, a few hairs, etc., are used for tails. Many of the standard patterns are tied without tails; however, on all of my dry flies, I tie three or four stiff fibers or hairs. They balance the fly and help it to float much better.

{9}

Two-thirds actual size

{10}

CHEEKS OR SHOULDERS: As per Fig. 9, Diagram 1, these are used on a great many of the fancy flies. These are straps of one or several feathers of contrasting colors. Jungle cock feathers, golden pheasant tippets, silver pheasant body feathers, as on the Grey Ghost streamer fly, blue chatterer, and many other fancy feathers according to pattern and fancy are used for this purpose. A pair of jungle cock tippets often called eyes, added to a Bucktail Streamer will often take trout, when the same pattern without the jungle cock will not.

RIBBING: Tinsel, Wool, Silk, Horse Hair, Quill, etc., are used for ribbing. The tinsel from your Xmas tree will do, but it is much better to use tinsel made for the purpose, as it will not tarnish so quickly and is much stronger. It is advisable before using tinsel to place a drop of good, clear head lacquer between the thumb and finger and draw the tinsel through it. This makes it tarnish-proof, and is particularly advisable with the oval and round tinsel that is wound over a silk core. Besides tarnish-proofing it, it will keep the tinsel from coming apart. Tinsel bodies should be lacquered after they are finished.

{11}

Two-thirds actual size

WINGS: Several styles of wings are used, see Diagram 2, page xi, those on Fig. 1, and are cut from a pair of matched wing quill feathers, like Fig. 7. Those in Fig. 2 are buzz wings taken from a pair of breast feathers {12} (mallard, wood duck, etc.) shown in Fig. 8. Fig. 3 shows hackle tip wings, tips of two hackle feathers, see Fig. 9. Fan wings, Fig. 4, are a matched pair of small breast feathers, see Fig. 10 (white duck, mallard, teal, grouse, etc.). In fact there is hardly a bird that flies that does not supply some of its plumage to the Fly-Tier. Flies of the order Diptera (land flies), such as the Bee, Cowdung, Blue Bottle, etc., should be tied with flat wings as in Fig. 5. A Bi-visible is shown in Fig. 6. This is a fly without wings, hackle tied palmer (that is hackle wound the full length of the hook, usually tied without a body, and the dark patterns have a turn or two of white hackle in front).

All of the flies on Diagram 2 are shown as dry flies; however, the same feathers are used for wet flies, streamers, etc., the difference being the style in which they are tied, which is explained elsewhere.

WAX: Use a good grade of wax for fly-tying. The proper wax will work much better than shoemaker's wax or beeswax. Wax for fly-tying should be quite sticky so that when the waxed tying silk is let go of, it will not unwind while tying the fly.

{13}

Two-thirds actual size

{14}

TYING SILK: Ordinary sewing silk is too coarse for ordinary fly-tying and it doesn't seem to have the strength. Size 00 is a good size for all flies including bucktails and streamers. For dry flies and small wet flies a gossamer silk size 000 and 0000 is the best to use. Although the strength of this fine silk is much less than the size 00, it has the advantage that more turns can be used, and the heads can be made much smaller.

{15}

BUCKTAIL STREAMERS

Bucktails Diagram 3

{16}

Place a hook in the vise and start waxed tying silk (See Diagram 3, page 15) (A) 1/8" from eye of hook Fig. 1. Take five or six turns and cut off end (B) Fig. 2. Wind tying silk (A) closely and smoothly down hook shank as Fig 3. (A complete understanding of the next step will have a great deal to do with the success of the beginner's greatest difficulty, that is, putting on the wings; the procedure is the same for all flies, study Fig. 4.) Hold tail material (C) between thumb and finger of the left hand, slide the fingers down over the hook, so that the tail material rests on top of the hook, with the hook held firmly between thumb and finger as Fig. 4. Now loosen grip just enough to allow tying silk (A) to pass up between thumb and tail material, form a loose loop over material, and down, between finger and material on the other side. Now tighten grip with thumb and finger and pull loop down tight; repeat once more, see Fig. 5. (This knack of holding the material and hook firmly together, until the loose loop is drawn down tightly keeps the tail, or wings, on top of the {17} hook, and at the same time keeps them from splitting or turning sidewise.) Now that the tail is in place, with two turns of the tying silk (A) tie in ribbing (D) Fig. 6. Now take six or eight close tight turns with the tying silk towards the eye of the hook, with two more turns tie in the body material (E) Fig. 7. IF USING TINSEL FOR BODY MATERIAL, BE SURE AND CUT THE END TO A TAPER BEFORE TYING IN as (E) Fig. 7; this tends to make a smoother body and prevents a bunch where the body material is tied in. Next wind tying silk (A) back to the starting point, take a half hitch and let it hang. Now wind body material (E) clockwise (all windings are clockwise) tightly and smoothly back towards the barb, to the extreme rear end of the body, pull tight and wind forward to within 1/8" of the eye, wind back and forth to form smooth tapered body as Fig. 8 (tinsel bodies are not tapered). (If using silk floss, untwist the floss and use only one half or one third of the strands, do not let it twist, wind tight, and it will make a nice smooth body.) Take two turns and a half hatch with the tying silk, and cut off end of the material (F) Fig. 8. Take one tight turn with ribbing (D) over butt of tail close to rear end of the body, also one turn under the tail if tail is to be cocked. Wind ribbing spirally around the body and tie off with two turns and a half hitch of tying silk as Fig. 9.

{18}

Bucktail streamers tied by the author (actual size)

{19}

Two-thirds actual size

{20}

Take about three dozen hairs of colored bucktail, cut off butt ends to the length wanted for the finished fly, not more than one half again as long as the hook, place these on top of the hook as Fig. 10 with butt ends about 1/16" back of the eye (this is held the same as when putting on the tail, Fig. 4). Pull down two or three loops, Fig. 11. Now take about 175 hairs of other colored bucktail, place this on top of the first colored bucktail the same as Fig. 10. Repeat the same operation as Fig. 11. Before finishing the head put a drop of head lacquer on the butt ends of the hairs to cement them in place, finish by making a smooth tapered head with the tying silk, take three or four half hitches, paint the head with two or three coats of lacquer and the job is complete, unless you wish to add jungle cock cheeks, or other combinations of feathers. This of course is done before the head is completed.

{21}

Diagram 4

{22}

WET FLIES

Start the waxed tying silk (See Diagram 4, page 21) 1/8" from eye of hook, Fig. 1. Wind tying silk (A) down shank of hook, and with last two turns tie in tag material (B) Fig. 2. Tags (see diagram 1) usually represent the egg sac on the female of the species. Chenille, wool, gold, silver, silk, herl, or various other materials are used for tags. (Ribbing, if used, is tied in just before the tag material.) Tie in tail (C) Fig. 3 (see Fig. 4 Bucktail, Diagram 3, page 15, for directions, how to hold the tail. Take from one to four turns with the Tag Material (B) around the hook, take a couple of turns with tying silk (A) around the loose end of (B) and cut off (B) as Fig. 4. Take about three or four turns towards the eye of the hook with (A), with two more turns tie in the body material (D) Fig. 4. Wind (A) back to the starting point, take a half hitch and let hang. Wind body material (D) to where (A) was left hanging. Wind (D) back and forth several times to form a tapered body, fasten with two or three turns and a half hitch with (A) Fig. 5. Next take hackle (E), and strip off soft web fibers on dotted line, Fig. E. Hold hackle {23} (E) by the tip with thumb and finger of the left hand, with the shiny side of the hackle to the right, place the butt diagonally under the hook and take four or five tight turns and a half hitch with (A) Fig. 6. Be sure that the hackle is tied on edgewise with the shiny side to the front. Now grasp the tip of the hackle with the hackle pliers and wind four or five turns clockwise around the hook. If the hackle starts winding edgewise it will go on without any trouble, if not better take it off and try again until you get the knack of tying the butt in at just the right angle. Take three or four turns over the hackle tip with (A) and clip off the tip close as Fig. 7. With the thumb and finger of the left hand, reach from under the hook and pull all the fibers down to the bottom, take three or four turns over them with (A) towards the barb of the hook, to hold them in place, and to keep them pointing well back, as Fig. 8. Next take a pair of matched (one right and one left) turkey, goose, or other wing feathers, Fig. A, and cut a section from each about 1/4" wide, place the two sections with tips even and concave sides together as Fig. B. Cut off the butt ends to the right length, that is so that the tips come even, or a little beyond the bend of the hook. Place on top of hook as Fig. 9 and tie on the same as previously explained in tying hair on Bucktails (Diagram 3, page 15, Figs. 4 and 10). Finish off with a smooth tapered head, two or three half hitches {24} and a couple of coats of good head lacquer, Fig. 10. Many patterns are tied palmer, that is the hackle is wound the whole length of the body. Many of the dry flies are tied this way, especially the Bi-visibles. To tie a palmer hackle, prepare the hackle by holding the tip of the hackle between the thumb and finger of the left hand, and with the thumb and finger of the right hand, stroke the fibers back so that they point towards the butt, instead of towards the tip, Fig. C, Diagram 4. With the shiny side of the hackle up, strip off the fibers from the bottom side as Fig. D. Now tie the hackle in by the tip as Fig. 11. Make the body the same as before. Wind the hackle spirally around the body and tie off the butt, Fig. 12. To make the hackle more full near the head, one or more hackles are tied in at the same time as Figs. 6 and 7, the palmer hackle is wound to within 1/8" of the eye and the butt tied in and cut off the same as the tip was cut off Fig. 7.

{25}

Wet flies tied by the author (actual size)

{26}

Two thirds actual size

DRY FLIES

{27}

Start winding waxed tying silk (See Diagram 5, page 28) (A) about 1/8" from the eye of the hook, take three or four turns towards the bend of the hook and cut off end, Fig. 1, Diagram 5. Cut a section about 1/4" wide from a right and one from a left wing feather, as Fig. A Diagram 4, page 21 (duck wings are best for dry flies). Place convex sides together (just the reverse of Fig. B, Diagram 4). Do not cut off the butt ends, instead straddle the hook as Fig. 2, Diagram 5. Hold between the thumb and finger of the left hand as already explained in Figs. 4 and 10, Diagram 3, page 15. Tip the wings (B) forward so that they stand about perpendicular to the shank, and pull down loop, Fig. 3, as explained in Diagram 3, Fig. 4. Take one more turn with (A) around the wings (B) in front as Fig. 4 and before loosening the grip with the left hand take two turns around the hook close in back of the wings (B), Fig. 5. Next pull the butt ends back tightly as Fig. 6, take two tight turns around them with (A) and cut off on dotted line as Fig. 6. Cross (A) between wings (B) to spread them, and wind tying silk (A) down shank of the hook as Fig. 7.

{28}

Diagram 5

{29}

Fan Wings, Dry Flies and Nymphs tied by the author (actual size)

{30}

From now on the body is made as previously explained, so for the sake of variation we will tie a band in the centre, the same as a Royal Coachman. Tie in tail (C) Fig. 8. Tie in two or three strands of peacock herl (D) Fig. 9 with (A) and wind (A) four or five turns towards the eye of the hook. Take three or four turns with herl (D). Tie in two strands of silk floss (E) Fig. 10, take a few more turns with (A) over the loose ends of (D) towards the eye of the hook. Wind silk floss (E) over the herl about half way up the hook. Take a turn or two around silk floss (E) with (A) and cut off end of (E) as Fig. 11. Carry (A) up to the front of the wings. Finish body with herl (D) wound tight against the back of the wings. (This helps to push the wings forward and to hold them in place.) Tie off herl (D) with (A) Fig. 12. The next step of putting on the hackle (F) is done the same as Fig. 6, Diagram 4, page 21. But here the hackle is much more important than on the wet fly. The floating qualities of a dry fly depend entirely upon stiff neck hackle of the proper size. (Use Hackle Chart.) Sometimes two hackles are used, these are laid together, and both butts tied in at the same time. One hackle of the proper size and stiffness is usually enough, so we will use one tied in as Fig. 13 and explained in Fig. 6, Diagram 4, page 21. Clip the hackle pliers to the tip of hackle (F) and wind about two turns edgewise in front of the wings, wind two turns close {31} in back of the wings. Take two or three more turns in front of the wings, all the while keeping the hackle edgewise, with the shiny side towards the eye of the hook. Wind the hackle close so as not to fill up the eye of the hook and to leave room for the head. Tie in the tip with a couple of turns of (A) Fig. 14. The hackle should now be standing straight out from the hook, with the most of it in front of the wings. Shape a tapered head with (A). (Head should be about 1/16" long on a size 12 hook.) Finish with two or three half hitches and a drop of head lacquer, Fig. 15.

Various feathers are used for wings of dry flies, such as breast feathers from mallard, teal; partridge, grouse, black duck, wood duck. Hackle tips, starling, duck, turkey, goose, pheasant, wing feathers, etc.

Two whole feathers of the proper size, with the natural curve are used for fan wings. The tips of two feathers, or a section may be cut from two matched feathers. All of these wings are tied on in the same manner as previously explained. See Diagram 2 for flies tied with different style wings.

{32}

NYMPHS AND THEIR CONSTRUCTION

NYMPHS

Nymphs are larvae of all aquatic insects. Together with minnows, crawfish, etc., they represent about ninety per cent of the trout's regular diet. Considering this fact, it is obvious that nymphs will take trout throughout the entire season. It will greatly surprise the novice to learn of the great amount of underwater insect life present in any stream. Next time you go fishing, hold your landing net close to the bottom, in a foot or so of fast water. Reach upstream and loosen the stones and gravel. Raise your landing net, and notice the numerous nymphs that have been washed from under the stones, and have attached themselves to your net. Better still, make a screen about two feet square, from regular 14 mesh window screening. Hold this in the water, and have your fishing partner go upstream, and with a regular garden rake, or some such tool, rake up the bottom, turning over the stones and gravel. This way you can capture many nymphs. Put them in glass bottles, take them home, and make copies of them. When next you {33} go fishing open the first trout you catch, examine the contents of its stomach, and determine which of the copies you have made is the proper nymph or fly for the occasion. To fish with an imitation of the fly or nymph upon which they are feeding, will result in a heavier creel.

When nymph fishing it is important to use a long, finely tapered leader. A 4x is about right. Fish in the same waters, and very much the same way as with a dry fly except that the nymph is allowed to sink. Fish upstream, or up and across the current. In the ripples. Around boulders. At the edge of fast water. Let the nymph drift with the current. Follow it with your rod tip, and be prepared to set the hook at the least hesitation of the line. Trout will sometimes take a drifting nymph and eject it, without being felt on the most delicate rod, so be ever on the alert when nymph fishing. A nymph fished down stream, and retrieved with slow, short jerks, will often work very well. When fished in this manner, trout will strike quite hard, and usually hook themselves.

There are times when trout are rolling on the surface and it seems impossible to take them on anything. It is then that they are usually feeding on nymphs, just under the surface. I remember one such time on the Housatonic River in Connecticut last summer. Just at dark, I was standing knee deep in very fast water. Trout {34} were breaking all around me. I knew, they were feeding on nymphs, and tried in every way to catch them. The water was so fast, it was impossible to keep the nymph just the right depth below the surface. I tried every trick that I knew, but could not get a strike. Finally reaching my hand in my pocket, I discovered several large buckshot. Removing the nymph from the tip of the leader, I attached five of these large shots, to the very tip of the leader, with a piece of 3x gut tippet about four inches long. I connected the nymph to the leader about sixteen inches from the tip. Within the next few minutes I took several nice trout, within rod's length of where I was standing. What actually happened, the lead was so heavy that it immediately sank straight to the bottom, and my taut line held the nymph suspended about two inches below the surface. The short gut between the nymph and the leader allowed the nymph to quiver much as the natural was doing. All the various common nymphs can be faithfully copied, by learning to tie the various styles of those herein illustrated. Simply alter the sizes, and color combinations, according to those found in the waters where you fish.

Remember nearly all the nymphs have flat bodies, and dark backs. The bodies may be flattened by thoroughly lacquering them, and when nearly dried squeezing them flat with an ordinary pair of pliers; or by {35} cutting a piece of quill the shape of the body from a turkey or goose wing. Bind this on top of the hook for the foundation of the body, and build the body over this. When finished, lacquer the entire body.

Most any body materials that are used for the making of other flies can be used; however, wool is mostly used for nymphs. Silk floss wound over a quill foundation and then lacquered, makes a very smooth, realistic body.

{36}

Diagram 6

{37}

THEIR CONSTRUCTION (SEE DIAGRAM 6)

Start tying silk (A) an eighth of an inch from the eye of the hook and wind closely down shank, as previously done with bucktails, wet flies etc. Next cut a section (B) from a grey goose wing feather about one eighth inch wide, and tie on top of the hook as Fig. 1. This is to make the tail and also the back of the nymph. Bend (B) back and take a turn or two with (A) in front as Fig. 2. Tie in the ribbing (c) close to (B) Fig. 3. Next tie in body material (D) close to (C) Fig. 4. Wool yarn makes the best body material for this style nymph. Now finish the body as for a wet fly, Fig. 5, then pull (B) tightly over the top, finish off as Fig. 6. This makes a sort of hard shell over the back. Next turn the hook upside down in the vise, and lay three horse hairs across, just in back of where the head is to be made, crisscross (A) between the hairs to spread them and make them look like legs, and your nymph should look like Fig. 7. Nymphs of this style as well as Figs. 8, 9, 10, 14 and 15 look more natural if the bodies are flattened. Fig. 8 is tied nearly the same as Fig. 7, the difference being that (C) and (D) are both wound over (B) about two-thirds of the length of the body, then (B) is turned back, the body finished as before, (B) brought forward loosely to form the humpbacked wing case, and (B) being cut off as was done with Fig. 6, and instead of the butt end of (B) being cut off as was done with Fig. 6 it is split by crisscrossing (A) through it to form small wings as Fig. 8. Fig. 9 is made in the same way except that several strands of peacock herl is used for the dark back, tail, and feelers.

Fig. 10 is a very effective nymph, the body made entirely of natural raffia (soaked in water before using), with black hair used for the tail and feelers The body coated with lacquer as before mentioned and pressed flat when dry; paint the back with dark brown or black lacquer.

Fig. 11 is made by close wound palmer hackle cut off on dotted lines. Fig. 12 is a fur body, made by spinning rabbit's fur or other fur on waxed tying silk and ribbing with gold; the tougher this nymph looks the more effective it seems to be. Fig. 13, the Caddis {38} worm can be more naturally reproduced with a common rubber band than any other way I know. Get a dirty, white, rubber band about 1/8" wide, taper one end for about 1/2". Lay two horse hairs lengthwise on top of the hook for the feelers, wind tying silk over them down the hook, tie in the rubber band by the very tip of the taper, wind the tying silk back to the starting point, and be sure that the tying silk is wound smoothly. If not, any roughness will show through the rubber band. Wind the rubber band tightly to about 1/4" back of the eye. Wind back down and take one turn under the horsehair at the tail end, wind up to the head and tie off with the tying silk. This now makes three thicknesses of the rubber band. Form a large head with the tying silk, fasten securely and you have a very realistic Caddis worm. Fig. 14 is tied about the same as Fig. 7, with a considerable amount of speckled mallard, and peacock herl used for both the front and back feelers as well as the legs.

Fig. 15. The Damsel Nymph has a body of dark grey wool with a back of dark brown or black lacquer. Wings, small red-brown wood duck breast feathers, feelers dark brown hackle, and a large black head.

{39}

THE HELGRAMITE (SEE DIAGRAM 7)

The Helgramite Nymph, larva of the Dobson Fly, is such an excellent bass and trout food, that the making of this nymph deserves special mention. As my personal way of making this particular nymph differs considerably from those previously explained, I consider it advisable to go into further details concerning the construction of this pattern.

I personally like the winged style. That is, with small imitation wings and horns, or feelers. This represents the nymph in its final underwater stage, just before emerging from the water as the Dobson Fly. I find black skunk tail the most satisfactory material for the body of this nymph. Either light grey swan sides, or light grey pigeon breast feathers for the wing and legs.

{40}

Diagram 7

{41}

First wind the waxed tying silk up the shank of the hook beginning opposite the barb. Clip the fibers closely from a couple of hackle feathers. These are to form the horns. Bind these hackle quills to the top of the hook, so that the tip ends project about 1 1/2" in front of the eye. Take a bunch of black skunk tail about the size of a match and bind it to the top of the hook, with tip ends towards the eye of the hook as in Diagram 7, Fig. 1. Next fold the hair forward and bind down tightly as in Fig. 2. Again fold the hair back and tie down as in Fig. 3. Then again as in Fig. 4. Notice that each time the hair is folded back upon itself and tied down, that it forms a segment of the body, and that each segment increases in size, until your nymph looks like Fig. 5. At this stage turn the nymph over and tie a piece of light grey feather about 1/8" wide across the bottom, separate the fibers with the tying silk to form the legs. Now cut a small light grey pigeon feather with the centre quill, as dotted line in Fig. 6. Give this a coat of clear lacquer: when dry, tie flat, on the back of the nymph to form the first set of wings, as in Fig. 7. Cut another feather and treat the same way, tie these slightly forward of the first set of wings, and you have a Dobson Nymph that is very lifelike in appearance.

{42}

BASS FLIES AND FEATHER STREAMERS

It will appear obvious from a study of Diagram 8, page (43) that the tying of bass flies and Feather Streamers differs so little from the tying of wet flies and bucktails that a detailed description will be unnecessary.

Bass flies are little more than large trout lies, the principal difference being the feathers that are used for the wings although the same feathers can be used as for trout flies. It is customary with commercial tiers to use two whole feathers for the wings, or the tips of two wings feathers, etc. Place the concave sides together and tie in the butt ends the same as for a wet fly. Bass flies to be used as spinner flies, that is, flies to be used with a spinner in front, should be tied on ring eyed hooks instead of hooks with turned down or turned up eyes.

{43}

Diagram 8

{44}

Page sized photograph of flies tied by the author (actual size)

{45}

Certain patterns of these flies have for a long time been famous as salmon flies in northern New England and Canada and the past few years have seen them steadily growing in popularity with anglers of Connecticut, especially for Rainbow Trout. The feathers that are used for wings are saddle hackles, and from four to eight feathers are used, hackles of the same size are selected, the tip ends placed even, and the concave sides of those used for the left side are placed next to the concave sides of those used for the right side, in other words, both the right and left side of the wing will be convex, or outside of the feather. Any of the standard pattern flies can be tied as streamers. Some of the patterns however, are very elaborate flies; the Supervisor, for instance, has wings of light blue with shorter feathers of green on each side, with peacock herl along each wing, polar bear hair, jungle cock shoulders, a silver body, and a red tag. This fly was developed a few years ago by Mr. Joseph Stickney, Supervisor of Wardens, State of Maine, to imitate the smelt, a natural salmon food. The riginal Supervisor did not have the jungle cock or the peacock heal. Mr. Stickney suggested the addition of these feathers to me last year, and I believe that this is now the approved dressing.

{46}

Feather Streamers tied by the author (actual size)

{47}

FAMOUS BUCKTAIL AND FEATHER STREAMERS

SUPERVISOR: WINGS, Blue saddle hackle with polar bear hair, and peacock herl down each side. CHEEKS, green hackle tip and jungle cock. BODY silver. TAG, red wool.

TIGER: (light) WINGS, brownish yellow bucktail or red squirrel tail. BODY yellow chenille. TAG, gold. TAIL, barred wood duck. CHEEKS, jungle cock. THROAT, scarlet.

TIGER: (dark) WINGS, yellow bucketful. BODY peacock herl. TAG, gold. TAIL, barred wood duck. CHEEKS, jungle cock. Short red fin.

GREGG'S DEMON: WINGS, grizzly saddle hackle dyed brown. BODY, silver ribbed with gold. CHEEKS, jungle cock. TAIL, barred wood duck. TOPPING, golden pheasant crest. HACKLE, Orange.

JUNGLE PRINCESS: WINGS grizzly saddle hackle dyed yellow with large jungle cock. CHEEKS, blue chatterer. BODY gold tinsel. HACKLE, white.

GRIZZLY GREY: WINGS, grizzly saddle hackles. CHEEKS, jungle cock. TAIL, orange. BODY, silver tinsel. HACKLE, white bucktail.

{48}

HIGHLAND BELLE: WINGS orange saddle hackles inside, grizzly saddle hackles outside. CHEEKS, jungle cock. BODY, gold tinsel ribbed with silver tinsel. HACKLE, white bucktail.

SPENCER BAY SPECIAL: WINGS blue saddle hackles inside with furnace saddle hackles outside. CHEEKS, jungle cock. TAIL, golden pheasant tippet. BODY, silver tinsel ribbed with oval silver tinsel. HACKLE, yellow and blue mixed.

BLACK GHOST: WINGS, white saddle hackle. BODY, black silk floss ribbed with silver. CHEEKS, jungle cock. HACKLE, yellow.

GREY GHOST: WINGS, grey saddle hackle with peacock herl and white bucktail. BODY, orange floss ribbed with gold. CHEEKS, silver pheasant feather and jungle cock.

BROWN GHOST: WINGS, brown saddle hackle. BODY, brown floss ribbed with gold. CHEEKS, jungle cock. TOPPING, golden pheasant crest. TAIL, golden pheasant crest. HACKLE, yellow.

WARDEN'S WORRY: WINGS one red and one grizzly saddle hackle. HACKLE, yellow, tied very full.

WHITE MARIBOU: WINGS, white caribou. CHEEKS, large jungle cock and small red feather. TOPPING, golden pheasant crest.

YELLOW MARIBOU: WINGS, yellow caribou. CHEEKS, large Jungle cock and small red feather. TOPPING peacock herl. Two complete caribou feathers can be used, or sections of the feathers, depending upon the size of the hook. Size 4 long shank hook is a good size to tie them for salmon.

{49}

FLOATING BUGS AND THEIR CONSTRUCTION

A style of fishing becoming more popular each year is that of Fly Rod fishing with Floating Bugs. These Bugs represents the large moth, butterfly, etc., and are constructed of a large variety of materials. Some have cork bodies. Some have Balsa Wood bodies. Others all hair bodies. Bodies covered with chenille, and other materials. One of the easiest to make and I believe one of the most successful styles, is entirely constructed from the body hair of the deer, reindeer, or caribou. All of these hairs are rather coarse and hollow consequently are very buoyant, and when properly made into a copy of the living insect, they have a soft, lifelike body that appears very natural when taken by a fish. These soft bodied Bugs are not so apt to be ejected before the Angler has time to set the hook, as are those with hard bodies.

{50}

Bass Bugs tied by the author (actual size)

Although the object of this book is to teach the Angler how to tie his own flies a few words in regards to the writer's personal experiences in using these Bugs might not be amiss at this time. Floating Bugs are mostly tied on large size hooks and generally used for {51} bass. However, I have had a great deal of luck and many pleasant experiences with them tied as small as a #14 Model Perfect hook, and used with a 4x Leader. The small sizes will take many large trout, and are readily accepted by all pan fish. When fishing in still waiters with the Floating Bugs, whether it be for bass, pickerel, trout or pan fish I use a light leader, treated so that it will sink. I cast to a likely looking spot, beside an old stump along lily pads, or to an opening in the lily pads themselves. I let the Bug hit the water with quite a splash, as a living moth of the same size would, and there I let it lie, absolutely motionless, as though stunned by the blow. By all means do not be impatient, let the Bug lie perfectly still for two or three minutes, and then simply move the tip of your rod just enough to cause the Bug to quiver on the surface. Again let it lie perfectly still for a minute or two; usually about the second time the Bug is made to quiver you can expect a strike, and when a big bass comes after one of these Bugs, he comes full of action. When fishing fast water, I fish them exactly as I would a dry fly, upstream or up and across the current. My personal choice for color is the natural brownish grey body hair from either the deer, reindeer, or caribou. Wings, tail and body all the same natural color. I tie this pattern from size 2/0 Model perfect hook down to size 14, and us {52} the larger sizes for bass and pickerel, and the smaller sizes for trout and pan fish. I remember one very pleasant experience that happened in northern Maine three years ago. There is a small, deep, spring fed lake of about ten acres in area, completely surrounded by wilderness; this lake had been stocked with, Rainbow Trout and closed to all fishing for five years. I was fortunate in being there about two months after it had been opened to fishing and was invited to try my luck, after first being advised that although some very nice catches were regularly being taken on a Streamer Fly fished deep, also on live bait and worms with a spinner, no one had even been able to take fish on the surface. I arrived at this lake about one hour before dark, and it was one of those evenings when the water was actually boiling with rising trout. In fact never before or since have I seen so many fish breaking water at the same time. I immediately made up my mind to take fish on the surface. I began fishing with a small spider, and changed fly after fly for the next half hour with the same results as had been experienced by other dry fly fishermen. In desperation and with darkness fast approaching I tied on a size 4 Grey Bug and cast about thirty feet from shore. The Bug hit the water with quite a splash and didn't even as much as put down one fish, and several continued to {53} rise from within a few inches to a few feet from where the Bug landed. I waited a couple of minutes and gave the Bug a little twitch, nothing happened, again I twitched and again nothing happened. I began to believe I was stumped when again the Bug was moved ever so slightly for the fifth time, and remember this was at least seven minutes after it first hit the water. A fish struck. In a few minutes I landed a 2 1/4 pound Rainbow. Before darkness had brought the day to a close I had landed three more beautiful Rainbows averaging 2 pounds each. I had never since had the opportunity to fish in this beautiful little lake. Some day I hope to return, and again try, and I believe succeed in taking these beautiful Rainbow Trout on the conventional dry fly. However, this one little experience proved conclusively to me the absolute necessity of patience in fishing Floating Bugs.

FLOATING BUGS: THEIR CONSTRUCTION (SEE DIAGRAM 9)

First let us begin by making the most simple; that is, one that has the Body, Wings, and Tail, all of the same material and color. Follow the illustrations carefully and even your first attempt will be a masterpiece.

{54}

Although I use well waxed 00 tying silk, you will find that regular sewing silk size A will work best on your first attempt. First wax your thread thoroughly and take a few turns around the shank of the hook and tie in a small bunch of hairs for the tail, as in Diagram 9, Fig. 1, page (55). We will assume that we are using regular deer hair cut from the hide. Next clip a small bunch of hairs, about the size of a match, close to the hide. You will notice there is some fuzz mixed with the hair at the base close to the skin, pick out the fuzz and place the butts of the hairs under the hook as in Fig. 2, Take a couple of loose turns with the tying silk, hold the tips of the hair with the thumb and finger of the left hand, and pull the tying silk down tight. You will notice that the hairs spin around the hook and the butt ends will stand out pretty much at right angles to the hook, as in Fig. 3. Cut off the tip end of the hairs on the dotted line, press the hairs back tightly, apply a drop of water-proof lacquer to the base of the hairs and the hook, and repeat the same process of tying on a small bunch of hair, each time pressing it back tightly. Remember this is important, because the hair must be as close together as possible to make a firm, smooth, buoyant body.

{55}

Diagram 9

{56}

When you have built the body up until it looks something like Fig. 4, remove it from the vise and with a sharp pair of scissors trim and shape it until it looks like Figs. 5 and 6. At this stage you should have 3/16" of the shank of the hook left just behind the eye, where you will tie on the wings. Cover this bare hook with the well waxed tying silk, and lay a bunch of hair on top of the hook for wings as Fig. 7. Crisscross the tying silk around the wings and the hook until they are securely tied together. Place several coats of lacquer over he junction of the wings and hook, to more securely bind them in place. Lacquer the entire wings if you wish and when they have partially dried, press them flat, spread them, trim them as Fig. 8, and your Bug is completed.

Any combination of color may be used, different colored wings and tail, different colored rings in the body. White body with red tail and wings is a good pattern. Yellow body, black wings and tail another. Various feather combinations can be used for wings and tall. Create your own designs, and develop your patterns.

{57}

CORK BODIED BASS BUGS (SEE DIAGRAM 10)

These high floaters are easy to make and may be tied on most any size hook desired. Kinked shank hooks should be used to prevent the body from turning on the hook. Colored lacquer or enamel can be used to decorate the bodies, and eyes can be either painted on, or regular small glass eyes inserted and held in place with water-proof glue or lacquer. Any of the fancy feathers that are used for regular bass flies can be used for wings. Hair or feathers can be used for tails, etc. Let us first make one of these cork bodied Bugs on a size 1/0 hook. Take a 1/2" cork cylinder and with a razor blade shape it roughly as Diagram 10, Figs. 1 and 2. Then with a piece of 00 sandpaper held in the right hand and the cylinder in the left it is a very simple matter to give the body a nice smooth, shapely finish. Next cut a small V out of the body as in Fig. 3. This is easier to fit to the hook and easier to cement securely than simply making a slit in the cork. Press the V slit over the hook as in Fig. 4. Apply cement or lacquer liberally to the inside of the V slot, and to the hook shank. Press the piece that was removed securely back into place, bind tightly with string, as in Fig. 5, and let set over night. Next day when the cement has thoroughly dried and the body is permanently fastened to the hook, remove the string and with the sandpaper touch up any rough places on the body, and give a coat of lacquer or enamel of the desired color.

{58}

Diagram 10

{59}

When the body enamel has dried, take a pair of feathers for wings (whole feathers that have the quill in the centre, same as are used for regular bass fly wings are best), and with the tying silk bind these fast to the top side of the shoulders as in Fig. 6. Tie on a tail close to the body, paint on the eyes, paint any other color or designs you wish on the body, and the Bug is completed.

{60}

Diagram 11

{61}

ANGLER'S KNOTS

Figs. 1, 2 and 3 in Diagram 11, page (60) show a very convenient way to tie a dropper loop in the leader; roll the gut between thumb and finger at (A) Fig. 1, next invert loop (B) through (C) Figs. 2 and 3.

Figs. 4, 5, and 6 make the best knot for or a loop in the end of a leader, gut snells etc. Pull loop (C) through loop (B) Figs. 5 and 6.

Figs. 7, 8, and 9 are about the easiest and most secure knots for making leaders, the ends are in the centre of the finished knot and can be clipped close.

Figs. 10, 11, and 12, the figure eight knot, is the best for tying flies to the leader, it won't slip, and the pull is in line with the hook shank.

{62}

MY FAVORITE FLIES

Quite frequently I am asked which fly I like the best, or which particular patterns I would choose should I carry only a few flies with me on a trip. That is rather a difficult question to answer. The season, the type of fishing and location must be taken into consideration.

There must be some reason for so many hundreds of patterns. I hardly believe that any half dozen patterns can be used with constant success throughout the season, even in one particular locality. There are times, when fish are feeding, that they will take anything; again one may change fly after fly without success, when finally a fly will be tried that will take fish on every cast. Suppose that particular fly wasn't included in the chosen few, the answer is obvious.

However, I will endeavor to choose six patterns each of the various styles, and to give my reasons for their choice, but here I assure you there will always be many more patterns in my fly box for further trial, after I have exhausted my favorite six.

Beginning with dry flies, my first choice would be {63} a Quill Gordon, on a size 16 hook. This fly closely represents the numerous duns that are on or about the water, to some extent, during the entire season. I have little faith in color in the dry fly, except light or dark shades. I do believe that the size and shape have a great deal more to do with the success of a dry fly than color. I have proven to my own satisfaction that a Quill Gordon sparsely dressed as it should be, but tied with a black hackle and yellow mallard wings, is just as successful as the customary dressing.

My second choice would be the Red Ant. Although this fly belongs to the order Hymenoptera, it can be used when many of the Diptera order are on the water, such as Cowdung, Blue bottle, Bee, etc. This family all have flat wings and make an entirely different appearance than the aforementioned Quill Gordon. I tie the Red Ant on a size 14 hook. I build the body first of red silk floss, shape it like the body of an ant, give it a couple of coats of clear lacquer and let it dry hard and shiny. This body will reflect light, much as the natural insect. I then tie on two hackle tips for wings. Have them about as long as the hook, spread them so they are at about a 30 degree angle from the body and very flat. I then use a brown saddle hackle with fibers about 3/4" long for legs. I put on only two or three turns of the hackle, and then clip off all of the top and bottom hackles, leaving only about six fibers sticking {64} straight out on each side. This fly will float very close to the water, and because of its sparse dressing, slightly heavy body because of the lacquer, it is not a good floater. It also has the disadvantage of being hard to see. However, it is still my second choice, and properly dressed, and fished with a very fine leader, will take many nice fish.

My third choice is the Fan Wing Royal Coachman. This fly was never supposed to represent any particular family but I believe it is taken by fish for the Lepidoptera, large-winged moths and butterflies. It seems to be very successful when these are about in the evening.

My fourth choice is the Furnace Spider. This fly I tie on a size 16 short shank hook, by winding only about three turns of a furnace saddle hackle, with fibers about three fourths of an inch long. Tied in this manner, without any body or tail, the fly will alight on the water with the hook down, and looked at from beneath, against the light, only the little black spot will be noticeable. This I believe represents some of the order Coleoptera (beetles) and also the small black gnat (Empidae). I know if no other ways to tie the Black Gnat small enough to represent the natural insect, and even on the very smallest hook, the artificial is usually many times larger than the natural. The small black centre of the furnace saddle hackle tied in this manner seems to represent the size of the natural very {65} closely. This fly is a very good floater and an excellent fly when trout are feeding on those small insects.

My fifth choice is the Grannon. This fly is of the order of Trihoptera, and has different shaped wings than any of those previously mentioned, the wings being quite full and roof shaped. It is on the water a good part of the season, and can be used when other flies with this shape wing are about, such as the alder fly, cinnamon fly, etc.

My next and sixth choice of dry fly would be the Brown Palmer, made on a size 12 long shank hook with a full body of peacock herl, and palmer hackle, wound not too full. This I believe is taken by the trout for many of the caterpillars.

My personal choice of these six patterns should now appear quite obvious, should it be necessary for me to limit myself to such a small selection. I have selected one each of the six most prominent orders, and should any one of the hundreds of families of these orders be in prominence on the water, I would at least have the correct size or color.

My choice of the standard pattern wet flies, Feather Streamers, Bucktail Streamers, and nymphs would be a little more difficult. I am a firm believer that color plays a very important part in the dressing of wet flies, as well as size and style. I offer my personal choice of these styles because of the consistency with which they {66} have taken fish for me during many years of fishing all parts of the country.

I do not hesitate to say that I have taken more trout, of all kinds, on a brown hackle with peacock herl body, than any of the other common wet fly patterns. This is probably because I have used it more. I do believe that in the north, and especially for brook trout, a fly with a little red in it is more productive. Therefore, for northern fishing I would select Royal Coachman, Parmachene Belle, and Montreal. Other favorite flies that are good most anywhere in North America are Grizzly King, Queen O'Waters; Cahill, and Grey Hackle.

Feather Streamers and Hair Streamers are being more extensively used each year. Many authorities are of firm conviction that these flies unquestionably represent small minnows, upon which the fish are in the habit of feeding. This may be true, but I have seen many rubber, metal and composition minnows, that were exact replicas of the naturals, both as to color and size, and they would not take fish as would the Feather or Hair Streamers, fished in the same waters at the same time.

Most of my experience with Feather Streamers and also Hair Streamers has been for Landlocked Salmon and Rainbow Trout, in big waters. So I will list these according to the way they have produced for me. The {67} Black Ghost on a #4 long shank hook has been my most successful Feather Streamer. Probably because its white streamers are easily seen by the fish. It will most always raise fish, even if not the proper fly to make them strike. The Grey Ghost is another, and one of the most popular streamers in the North for Landlocked Salmon. This fly, as well as the Supervisor, Spencer Bay Special and numerous other flies of this style, were originally designed by their creators to represent the smelt, a favorite food of the salmon. These flies vary so in their color combinations that I wonder what the fish do take them for. However, I do know that a Grey Ghost will work when a Supervisor will not, and vice versa. One is grey and the other is blue. When fishing in lakes with a Feather Streamer for trout I have consistently had most luck with a creation of my own, Gregg's Demon. This fly was never tied to represent anything, but I have taken many nice fish on it, and have seen little fellows hardly as long as the fly itself chase it, and try their best to bite it in two. There is just something about it that has "fish appeal."

A Brown Bucktail with a silver body on a #6 3x long shank hook rates number one in Bucktail streamers. Another excellent fly that has been a favorite for years, is a Yellow and Red Bucktail, with a silver body, the red only a narrow streak through the centre. This fly has recently been named "Mickey Finn." A red and {68} white, with silver or gold body is a real good pattern where there are brook trout, and tied on a large hook is very good for bass.

I use one with all white bucktail and silver body, the same as I do a Black Ghost, for locating fish. I find they will most always show their presence, one way or another when a white fly is cast near them.

An all yellow with black streak in the centre same as the "Mickey Finn" is another very good combination. This is an excellent pickerel and bass fly. In fact, most any of these Feather Streamers and Bucktail Streamers tied on larger hooks, and used with or without a spinner, are excellent lures for both bass and pickerel.

Nymphs: I have explained elsewhere my liking these lures, and can say little more except that I always carry the following color combinations in various sizes. All tied according to styles illustrated in the diagrams. Cream Belly with Dark Back; Yellow Belly with Black Ribs and Dark Back; Green Belly with Dark Back; Grey Belly and Gold Ribs with Dark Back; Brown Belly and Gold Ribs with Black Back; Orange Belly and Black Ribs with Dark Back.

{69}

[Transcriber's Note: Some of the names are not in strict alphabetical order.]

{70}

{71}

{72}

{73}

{74}

{75}

{76}

{77}

{78}

{79}

{80}

{81}

{82}

{83}

End of the Project Gutenberg EBook of How to Tie Flies, by E. C. Gregg

*** END OF THIS PROJECT GUTENBERG EBOOK HOW TO TIE FLIES ***

***** This file should be named 30292-h.htm or 30292-h.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/3/0/2/9/30292/

Produced by Hugh T. Mitten

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected].  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations.  To donate, please visit: https://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

     https://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.