Inspiration can be derived in many ways. It can be a fleeting moment along a wilderness trout stream or bonefish flat. Once, while fishing the upper reaches of Kettle Creek, in North Central Pennsylvania, I witnessed a four inch brown trout leap out of the water to grab a two inch stonefly hovering overhead. On my first bonefish trip I watched a five foot barracuda charge into a school of bonefish to no avail. Certain moments like these are etched in my mind. As a teacher, artist and fly tyer, I also acquire creative inspiration by studying true masters of their craft. When I studied watercolor, I was mesmerized by the works of Andrew Wyeth. During the decade I worked in wildfowl carving, I studied the works of Larry Barth and the compositions of Robert Bateman. In the realm of realistic fly tying, I was knocked of my feet by the work of England’s Paul Whillock and without a doubt the creations of Bob Mead set the standards for realistic fly tyers today.
After a year of teaching near the city of Pittsburgh in 1979, I was fortunate enough to find a teaching job in the historic and rural Ligonier Valley. (Where I still remain today after 27 years) It is here where I was introduced to fly fishing and soon after fly tying. At first as with most neophytes, I tied the usual patterns to fill my fly box. Hares ears, pheasant tails, Adams, elk hair caddis, basic streamer patterns and a few terrestrials became my basic staple (and still are today). Although I worked in many mediums, fly tying became more than just a means of filling my fly box. As I progressed, I began to explore and develop techniques to create more realism in my patterns, to explore it as art.
My first chance to exhibit my tying skills came five years ago when I was asked to give a presentation on tying foam flies at International Angler in Pittsburgh, Pennsylvania. In 1979, Dorn Howlett, Edinboro University art education professor said to me; “The best way to learn how to do something is to teach it.” He could not have been more accurate. Nothing motivates you more than to know you will be center stage. Preparation and practice beforehand are highly recommended. I began to focus on foam exclusively for several months. Foam allows you to create some interesting forms. It can be cut, folded, laminated, colored with permanent markers and comes in a variety of types, thickness, and colors. Most importantly, you can make sculpture with it. I credit this medium for my eventual step into realism.
As I began the transition into realistic fly tying, my initial objective (which is currently progressing and hopefully always will) was to develop a series of patterns that I could reproduce and become my own. I use the word “reproduce” loosely because by no means was I planning on “cranking them out” as, say, a production tyer would do if he needed to produce five dozen wooly buggers. After all, I still like to fish as much as possible. What I intend is to document each step in order to go through the process with less difficulty each time, as I become familiar with the species and techniques needed to create the most realistic reproductions. Actually, it is what most tyers do when they design or learn a new pattern.
Selection and familiarity with the species is essential. I have always leaned towards the seldom seen or nocturnal species. During the time I worked exclusively in wood, I migrated away from the common song birds and waterfowl that seemed to attract many carvers as subject matter and began to study birds of prey, eventually having success with various owl compositions. In earlier attempts of realistic tying I had success with grasshopper and crayfish pieces. However, I soon found myself studying and creating moths. Although not relevant to the world of popular fly-fishing patterns as the mayfly, stonefly, caddis or common terrestrial, I envisioned a large Luna moth succumbing to the wind on its journey across a vast cold river one dark summer night, only to be devoured by a large nocturnal brown trout. I wanted to challenge the viewer to think or question aspects of nature that happen but are seldom, if ever, witnessed.
Creating habitat in the compositions came naturally from my background in wildfowl carving. In competition, everything must be hand made. Artist’s could not glue or fasten rocks, driftwood, reeds, grasses or leaves in their pieces. If this rule was broken, disqualification came instantly. Wildfowl carvers became very knowledgeable about the types of epoxies, metal foils, and other mediums which would aid in the construction of surrounding habitat for their compositions. However in future pieces, my wish is to simply display the fly in order for the viewer to focus on the fly as art itself.
It is an honor and privilege to present my first series of art flies here at loopfly.
I hope to continue to showcase more as they are created in a series of articles. I would hope that visitors to loopfly find them unique, creative, and interesting. The flies are all hand-tied and the habitat is hand made. For inquiries, you can contact me at ken.vallino@gmail.com
Ken Vallino
Edited by Lisa Sajna
Realistic Fly Patterns:
Crayfish #2 3/05
(Combarus thomai)
Hook: Tiemco 300 Size 2
Thread: 3/0 Tan
Tail: Tan raffia, fiber flex soft rope mache, varnish
Abdomen: Tan deer hair, tan raffia, fiber flex soft rope mache, varnish
Legs, Cheliped: 50lb mono, tan thread, fiber flex soft rope mache
Eyes: Burnt mono, epoxy
Antennae: Mono and porcupine guard hairs
Color: Prismacolor markers
Habitat: Kulis karvit, Styrofoam particles, polychrome
Total Working Time: 70 Hours
Luna Moth #3 4/05
(Actias luna)
Hook: Mustad 3366 Size 4
Thread: 3/0 White
Body: White deer hair, white fiber flex soft rope mache, plushille, white ostrich herl
Legs: 25lb mono, fiber flex soft rope mache
Eyes: Burnt mono
Wings: Mono, fiber flex soft rope mache over tracing paper, ostrich herl, liquitex matt varnish, polychrome
Antennae: Ginger hackle
Habitat: Driftwood, brass foil (pealing tree bark) Kulis-Karvit, gesso, & polychrome for shelf fungus (Ganoderma applanatum)
Total Working Time: 100 hours
Female Imperial Moth # 4 3/06
(Eacles imperialis)
Hook: Mustad 3366 Size 4
Thread: 3/0 Yellow
Body: Yellow deer hair, white fiber flex (dyed yellow) soft rope mache, Plushille,
Yellow ostrich herl
Legs: Japanese Nymph Legs covered with fiber flex soft rope mache
Eyes: Burnt Mono
Wings: Mono, fiber flex rope mache over tracing paper, ostrich herl, Liquitex matt varnish, polychrome, prismacolor markers.
Antenna: Japanese Nymph Legs covered with fiber flex rope mache
Total Working Time: 95 hours
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