The Preface section is a very simple part of the program consisting of this one screen.
Use the red scroll bar on the right side of the text field to view all text for the Preface.
Use the
button to go back to the
Strategy
menu.j
HELP / Preface
History
The History section is identical to the Preface section except that it consists of five screens.
Use the red scroll bar on the right side of the text field to view all text for each of the five screens.
can use the Prev & Next buttons to navigate back and forth between the five screens.
Use the
button to go back to the
Strategy
menu.
HELP / History
Entomology Found Set
This is the first screen where the
Found Set
(or list view) mode is used in the program.
This is one of the most powerful features of the program because it allows you to view multiple records (or screens) B
at the same time.
Use the scroll bar on the right side of the window to navigate through the records.
Click on the text to the left of the associated image to activate the scroll bar for additional text when
present.
Simply click once on the postage stamp image next to the associated text for a more detailed view of each image and record.
HELP / Entomology Found Set
Entomology Full Screen
Most sections of this program contain a Full Screen (or detailed) version of each record.
This is where you go when you click out of the
Found Set
or list view.
You can use the Prev & Next buttons to navig
ate back and forth between the records in Full Screen mode.
Use the Back button to go back to the list view. You can also click on the Full Screen image to go back to the list view (this shortcut also works anC[ywhere else in program, even here in the HELP.FM section).
<--Try clicking on this screen.
HELP / Entomology Full Screen
Patterns Found Set
This is the
Found Set
(or list view) mode. This view allows you to browse multiple patterns at the same time.
Use the scroll bar on the right side of the window to navigate through the patterns.
Simply clicB
k once on the postage stamp image next to the associated text for a more detailed view of the pattern.
Also notice the header text field at the top of the screen. This contains general information about the pa
rticular set of patterns you are browsing. Sometimes you will need to click on this field to refresh the text.
Use the Index button to view an alphabetical list of all the patterns.
The Back button will takeD
you back to the Patterns menu.
HELP / Patterns Found Set
Pattern Recipe
This is the Pattern Recipe section.
This is where you go when you click out of the
Found Set
or list view.
You can use the Prev & Next buttons to navigate back and forth between the recipes.
Click once on
the image to go to a Full Screen image of the pattern.
You can print the recipe as well by clicking on the Print button. Be sure to choose the landscape option in the page set-up dialog box (Windows users mayC
use the options button from the print screen). When printing, note the choices of
Records being browsed
(all those currently visible in Found Set or list view) and
Current Record
(the recipe you are viewinD2g).
Use the Back button to go back to list view.
HELP / Pattern Recipe
Pattern Full Screen
This is a Full Screen pattern recipe.
This is where you go when you click on the thumbnail image in the pattern recipe view.
Click once on the text to the left of the image to activate the scroll bar for addB
itional text when present.
You can print the full screen image as well by clicking on the Print button. Be sure to choose the landscape option in the page set-up dialog box (Windows users may use the options b
utton from the print screen).
Use the Back button to go back to the pattern recipe. You can also click on the Full Screen image to go back to the pattern recipe.
HELP / Pattern Full Screen
Tutorials Found Set
This is the
Found Set
(or list view) mode of the program.
Use the scroll bar on the right side of the window navigate through video, tools, materials, etc
Simply click once on the postage stamp image nexB
t to the associated text for a more detailed view of that record or to enter the Play Video screen for the Step By Step or Video section.
Click once on the text to the left of the associated image to activate
)Ckthe scroll bar for additional text when present.
The Back button will take you back to the Tutorials menu.
HELP / Tutorials Found Set
Tutorials Full Screen
This is a Full Screen Tutorial record.
This is where you go when you click on the thumbnail image in list view.
Use the scroll bar on the right side of the text field to read all of the information about the B~record.
Use the Back button to go back to the list view. You can also click on the Full Screen image to go back to list view.
HELP / Tutorials Full Screen
Tutorials Video Screen
This is the Play Video screen for the Video and Step By Step tutorial sections.
This is where you go when you click on the thumbnail image in list view.
Use the scroll bar on the right side of the text field B
to read all of the information about the record in the Step By Step section.
Notice the Play Video button, this button selects and plays a QuickTime movie. A control bar will appear once the movie starts. To s
top the movie click the play/stop button on the left end of the control bar (Mac users must click twice the first time), you may also click any other button or field to deselect and stop the movie. You may scrD
oll through the movie using the slider button in the middle of the control bar, forward and reverse controls are at the right end (click once to step through, or hold mouse button down to scan).
In Step By Ste
p you may stop the movie at any step and scroll through the text at the left to find the individual step script. When you start the movie again both text and video will return to the beginning.
Use the Back bFqutton to go back to the pattern recipe. You may also click on the Full Screen image to go back to pattern recipe.
HELP / Tutorials Video Screen
Patterns A to Z Index
The A to Z index is another verion of the browse view which lists all of the patterns in alphabetical order.
Click the pattern of interest to view the recipe screen.
Note that this view lists the entire patteB9rn collection and therefore loses the previous found set.
HELP / Patterns A to Z Index
Preface
Next record script
Print
GoFoundSet
DoFind
Go Back
ImportPictsSemiManual
ImportMoviePictSemiManual
FindAllPatterns
DoMainMenu
AllPurpose
FullScreenQT
SelectSectionHeader
OpenStrategy
OpenTutorial
OpenHelp
OpenPatterns
Entomology
Preface
History
StrategyMenu
?StratPref
?StratHist
?StratEntList
?StratEntFul
?PatList
?PatRecipe
?PatFullScreen
?TutorialList
?TutorialFull
?TutorialVideo
Print
GoFoundSet
DoFind
Go Back
ImportPictsSemiManual
DoMainMenu
MAINMENU.FM
AllPurpose
All purpose flies
ALL-PURPOSE DRY FLIES
Our classification system considers a dry fly to be
all-purpose
if it seems to have no resemblance to a specific insect. Some authorities might classify such flies as
attractor patternsB
but we prefer the term all-purpose. Since the Adams has become America
s most popular all-purpose dry fly, we have selected this design to provide an example of the many ways in which any fly pattern might b
e modified. History is unclear as to what the original Adams, shown first, was intended to resemble. Clearly, it bears a similarity to some mayflies and caddisflies, and even some craneflies. In any event the AD
dams became the ideal candidate for tiers to modify to meet their individual preferences. Our purpose in presenting these somewhat repetitious dressings is to demonstrate how one might apply his imagination to
most all of the dry-fly patterns on subsequent pages. (click here to scroll for more info ->>)
HUMPIES
The Humpy developed as a variation of the Horner Deer Hair Fly that Jack Horner of San Francisco first tieF
d around 1940. Several of these originals were discovered and brought to the Rockies by Pat and Sig Barnes. They were very impressed by the fish-catching qualities of this odd looking shellback dry fly, and beg
an tying them for sale in their Montana fly shop. Not only did these Humpies and Goofus Bugs - as they were later called - catch fish, they seemed unsinkable. Even after a dozen or more trout had chewed their sH
hellbacks to tatters, trout seemed just as eager to eat them. Since the 1940s, many variations have surfaced, but the basic shape and design remains constant. These are not your slender, quill-bodied Eastern fl
ies, but are rugged, high floating, meaty flies perfect for fishing the faster Western rivers. Notable western fly tiers like Pat and Sig Barnes, Dan Bailey and Jack Dennis have all contributed to the refinemenJ
t and popularity of the Humpy.
The Irresistible is constructed almost entirely from deer body hair and is designed to present a large, highly visible silhouette rather than a slender realistic one. Most Irres
istibles aren
t supposed to imitate any specific food form; rather they are designed to float well in fast broken water, and look like something irresistibly good to eat. Joe Messinger of Morgantown, West VirgL
inia, tied the original Irresistible in late 1930s. Messinger is best known for his unique deer-hair bass flies, like the Bucktail Frog. Many variations have appeared since Messinger tied the first fly many yea
rs ago, but they have been little more than simplified color variations. Mostly tied with hair wings, Irresistibles tied with hackle tip wings have also been popular.
WULFFS
Few flies have made such a lasting N
impression on fly tying as the Wulff flies, and few individuals have been as actively involved in the development of fly fishing as Lee Wulff. If these flies were the only contribution Wulff made to modern fly
fishing, they would have been enough. But Lee Wulff was a prolific writer and photographer and was instrumental in designing all sorts of fishing gear. He was also a master cinematographer who pioneered in the P
field of outdoor films. Throughout his life he was constantly experimenting with new fly designs, but the Wulff flies are his most enduring contribution to fly tying. The first ones were tied in 1929 during an
outing with Dan Bailey, while fishing in the Adirondaks. Bailey was so impressed with Wulff
s hairwing style that he developed several variations after he opened his fly shop in Livingston, Montana. The uprightR
hairwing has become a standard that
s been adopted throughout the world.
ALL-PURPOSE WET FLIES
Until the mid 1900s, fly fishing in this country was done with wet flies. One glance through the many color pla
tes of Ray Bergman
s 1938 landmark edition of Trout easily confirms this. Some early wet flies, like the Blue Dun and the March Brown, were specifically tied to imitate insects, although it
s not entirely cleaT
r if it was an emerging nymph or a drowned adult that the designer had in mind. Other flies, like the Trout Fin and Parmachene Belle of the East, or the Renegade and Chappie of the West, are American originals
tied strictly as attractors. But as fishing pressure increased the trout became more selective and anglers more educated. The popularity of the wet fly diminished and has largely been replaced by a wealth of acV
curate imitations representing actual stages of subsurface life. Yet, because wet flies are attractive, fun to tie and easy to fish, and since trout will still smash a Silver Doctor fished down-and-across strea
m, wet fly angling still has its partisans.
ALL-PURPOSE NYMPHS
It was not until the 1940s and 1950s that nymphs became commonplace in the fly boxes of trout fishermen. Prior to then, a variety of wet flies serX
ved the function of representing a multitude of immature aquatic food forms. Studies of trout feeding habits revealed that nymphs composed a large portion of a trout
s diet. Observent anglers such as Hewitt, Bl
ades, Bergman, Quick, and many others began to promote the use of more exact imitations, and thus the nymph was
discovered.
Many of the successful nymph patterns are based on general, rather than specific, deZ
sign features. We do not believe these flies represent any single, particular insect form, although some of them may be classified differently in other fly listings; rather they appear to be successful because
trout mistake them for a variety of possible foods. These flies, then, are most useful to the fly fisher at times when there is no surface activity, and he cannot make a specific determination as to what the fi\
sh are likely to be eating.
FindAllPatterns
PREFACE
For over five centuries, men and women have been trying to deceive trout. Some used natural baits to lure a trout to their hook, while others applied their wits and imagination to craft imitatioB
ns of insects. Their frauds then, as now, were constructed using thread, feathers and hair. These many years later little has changed - but then again much is different. The definition of artificial fly has bee
n broadened to incorporate imitations of insects other than flies, as well as most other forms of aquatic life - indeed, virtually any animal form upon which fish feed.
Whether the designing of trout flies is D
art, craft, science, or even alchemy, we leave to that reader to decide. Fly fishers, and particularly fly tiers, are in perpetual search of their grail - that mystical combination of materials which will prove
irresistible to trout. The trout fisher
s aphrodisiac. Some flies have achieved a degree of success and their names are forever etched into fly-fishing history. The Royal Coachman, Mickey Finn, Adams and MuddlF
er Minnow exemplify such success. As with race horses, anglers have endowed their creations with names, personalizing them in perpetuity.
Other flies result from a more pragmatic approach to trout fishing. The
theory is simple: understand everything about the fish, its environs, its food, and then trick that tiny fish brain by imitating that which it
s programmed to eat. This more scientific approach works, and has H
become the basis for most modern fly tying. We not only imitate Mayflies in general, but we can construct flies to represent each of their life stages, even by gender when needed, and our books and charts will
generally tell us when and where these flies are to be used. The flies which result from this approach customarily bear names which describe insects being imitated, and/or the ingredients used. Thus, we have ouJ
r Green Drakes, Hexagenians, Poly Wing Spinners and Elk Hair Caddis. But even this logical method, though effective much of the time, reveals enough inconsistencies that we can only conclude there is much not y
et understood concerning fish and insect behavior.
There also are other design categories: flies which are just easy to tie, Flies which just simply look pretty, flies strongly identified with certain locales,L
flies which seem to catch fish for reasons unknown,and flies bearing the names of skilled fly tiers or notable fly fishermen. Often these latter flies have had their designer
s name added by vendors, to distin
guish them from flies with similar names. One commonality to all flies is that they are each made with your own hands, using whatever skills and creativity you possess. Aside from myself yourself, your only criN
tic will be the trout. The point is, there is no single approach to this design or usage. Because of this there can be no single, all-encompassing approach to this book.
The flies we selected are important in
their own right, or represent a tying style which we consider worth while sharing. For some we will have illustrated an excessive number of western flies, while for others the opposite will be true. We may haveP
omitted your favorite fly, or we may have shown to many of one style for your needs. What we have presented is what we believe to be the most representative and important trout flies as we near the 21st centur
y. We have not, neglected some of our roots and tradition. Fly boxes of many anglers remain filled with many hallowed fly patterns which, like an old familiar fishing vest, continue to serve the fisher well.
e hope that Flies for Trout will be accepted as an accurate and representative reference, for many of the flies pictured were tied by some of the finest tiers in American fly fishing. if any errors exist, then
the responsibility is entirely ours and should in no way reflect on the individual fly tiers. In a few instances a fly name may be spelled, punctuated or presented in two different ways. We tried to respect T
the original usage whenever possible, even if resulted in some minor inconsistencies in our listings. Also, we elected not to be too specific concerning the models of hooks to be used. With several excellent b
rands of hooks on the market we believe the information we provided should be sufficient to guide the fly tier toward an appropriate hook.
It is customary to use this portion of a book to express gratitude toV
those who made a contribution. We are so wholly indebted to so many people it
s frankly impossible to single out anyone, but we particularly appreciate the free sharing of ideas and knowledge, for such a shari
ng of flies and ideas is like a fraternal custom, and in many ways the motivation for us to produce this book. We
ve been helped by scores of fellow fly tiers, and the best we can do to call upon your attentionX
to each of them as identified with the photographs. Our most heart felt thanks to everyone who was so helpful - we really couldn
t have done it with out you.
One friend was not able to complete her work with
us on this book. Fran Stuart, who was posthumously named angler of the year by Fly Rod & Reel magazine had hoped to help us finish this book, but cancer intervened. Had she been able to fulfill her ambition, tZ
his book would have undoubtedly been a much better product, for it was Fran
s skills and demands that made us settle for nothing less than the best we could do.
(.txt)