Materials

Hooks:  I make each hook from scratch using a single piece of solid 18-karat gold, the highest-karat gold commonly used in jewelry applications (higher-karat gold being too soft).  I use no molds to mass-produce hooks – each is shaped from raw gold by hand.  This technique ensures that each hook in an Edition, while made according to a general pattern, possesses unique subtleties.  Once I shape each hook, I polish it in six arduous steps to a mirror-like sheen.  Because hook sizes are far from standardized and vary so much from manufacturer to manufacturer, I do not wish to confuse my customers by listing hook sizes in conventional terms; instead, for simplicity, hook lengths and gapes are listed in both centimeters and inches.

Tinsels:  I shape and polish all my tinsels from solid 18-karat gold or 100% solid platinum.  I use no plated, coated, or synthetic tinsels.

Flosses:  I use only the highest quality silk floss.  I never use any synthetic flosses, even for underbodies.

Feathers:  I use only the highest quality feathers I can find.  All feathers are accurately represented in the Details section for each fly.  All of my feathers are not only legally obtained but are also obtained with a high regard for the species from which they come.  Whenever possible, rare feathers are obtained from molts rather than from skins.

Leaders:  In its final presentation, I attach each fly to a hardwood base by a steel-reinforced, hand-woven horsehair leader, which, in the style of a few hundred years ago, is tied directly into the fly.  The steel, virtually invisible beneath the horsehair, not only supports the fly but also brings out the horsehair’s natural translucence and makes the leader glisten as if wet.  The leader is more than an aesthetic detail, it is absolutely essential for the effective display of the fly, because it presents the fly to the viewer free and unencumbered, much as it would be viewed by a fish.  Unlike any other medium I've ever seen for fly presentation, mine accentuates the three-dimensionality of the fly by allowing lighting and viewing from all angles.  The fly, thus displayed, commands the appropriate attention.

Threads:  I use only the highest quality silk thread.  It is waxed during tying and finished at the head.  Though much stronger synthetic threads exist and would make tying with solid metal tinsels and making glassy smooth bodies much easier, I don't feel right using them.  I prefer my flies have a more traditional, natural feel.

Waxes:  I wax my own tying thread using a variety of waxes and wax/rosin mixtures, each of which consists of only natural substances.  All are consistent with the waxes and rosins commonly used prior to the advent of synthetics.

Signature Inlays:  On each of my original patterns, I hand-fashion a signature inlay on the head from solid 18-karat gold, one of my initials on each side of the head.  The heads on many salmon flies are, in my opinion, stubby and awkward, as though the tier is trying unsuccessfully to disguise an error.  I prefer the heads on my flies instead to be bold and sleek, each an essential part of the fly and unashamed of its prominence.  On classic patterns, in deference to the original tier, I do not inlay my initials into the head.  Instead, I finish the head as the original tier would have and stamp my signature on the rear of the hook (see below).

Signature Stamps:  On each of my classic patterns or hooks I make for other tiers or hook collectors, I stamp the hook with my signature as a mark of authenticity.  The stamp is discreetly located on the rear of the hook just below where the tag would be in a finished fly.  That way, the stamp does not interfere with the presentation of the hook or fly but still allows for easy authentication.

Finishes:  I finish the head of each fly with the highest quality luthier's finish which I have had custom-formulated for me.  Historically, flytiers have used the same finishes used by woodworkers, luthiers, and rod builders.  The finish I use today, however, outperforms the finishes of old in two important ways: First, it is a safe, waterbased finish; second, it possesses the clarity required to beautifully display the tying silk and gold inlay beneath.  In contrast, even the best traditional finishes suffer from serious deficiencies in those regards: They either use toxic solvents or discolor badly over time, usually both.  I have spent a tremendous amount of time researching and testing finishes for this project, and I'm confident that this is the best available finish for my application.

Dyes:  The selection of dyed materials available commercially is quite limited.  Hence, I dye many of my materials myself and can therefore achieve some truly unique colors in my materials.  I prefer natural dyes, but natural dyes are simply too limited in scope to achieve every visual effect I require, so I also use synthetic dyes.  Synthetic dyes have been in active use by flytiers since the height of the Victorian Era, so I don’t feel that using them is a departure from a classic aesthetic.  Since today’s best dyes generally have much better color-fastness than those used a hundred or more years ago, it is essential for preserving the brilliance of my flies that I use modern dyes in many cases.  My dyeing decisions are also always made with environmental responsibility in mind.

Domes:  The dome in which each fly is presented is handblown from a single piece of glass.  Handblown glass has no seams and therefore boasts optical qualities unparalleled by machine-made glass.  Handblown glass often contains slight imperfections imparted during the glassblowing process; these imperfections are a mark of quality and contribute to the rich character of the glass.

Bases:  My bases are custom made for me by Booker Brooks, President of the State College Woodturners Guild.  Booker turns and finishes each base by hand from the finest exotic hardwoods in the world.  He is a gifted turner and enjoys making each base different from the last.  He is so talented that I hesitate to give him instructions as to how I want my bases constructed, instead preferring to give him a general idea and then let him apply his own artistry and skill to the base.  We've begun our partnership with a few simple bases, but he and I are both eager to try new and exciting things.  I can only show a few of his bases and woods here, but many, many other styles and woods may be used.  When ordering a fly, we can discuss the many available base options which would help make your piece truly unique.  Included in the list price for each fly is a standard-style base with handblown glass dome.  Substitutions of more exotic woods or styles are priced accordingly.  Please understand that because Booker personally selects each piece of wood he uses, his inventory is ever-changing.  Hence, not all the woods pictured here are always available, and some woods other than those shown may be available.