Clark's Dubbing Blocks

[William Anderson]

I had the privelege of using a dubbing block recently thanks to Doug for bringing extras for our tying sessions. I have always used a drop loop from the bend, waxed on one side and touch dubbed before spinning and bringing the body forward. Always one to tinker, I cut a piece of maple and made a smaller version when I got home. I wanted to start a thread to discuss a number of issues regarding the use of the blocks. With Lance's posts relating some of his observations and watching Bill demonstrate his technique, I know there is a lot of great information to consolidate into one place.

This is version two which I've used quite a lot the past couple weeks. I'll mention a couple changes planned for V3, but it would be better to get some input before making the cuts.





Thanks for any recommendations.

w

[letumgo]

Gorgeous wood! It looks like a highly functional design. What have you done for the bottom of the block? Did you add anything for traction? I've used leather on the bottom of mine, to give the block a little grip when the loop is being twisted. The weight of the maple will help your block resist movement (greater weight = higher inertia = more stability). Great idea. I may need to build another one too.

[gingerdun]

William,
Your single pin is the same design that Gunnar Johnson illustrated in his book. Makes sense.



And if the hand-planed bevel is faster/easier than rounding the shoulder with a router or sanding belt, then why not? The whole point is to get that pin at about a 30-degree angle—which Gunner did not do, misunderstanding the reason for the rounded shoulder.

For reference, Pete Hidy made his block to measure 4 5/8 X 2 1/8 X 3/4 inches. I wouldn't make it any longer that that, since that would waste thread. Even 4 5/8 is longer than you need when spinning for #12 hooks or smaller.

My preference is for a smooth surface, with no texture. And a pure white seems to be fine, even when working with white or transparent fibers. It has to be a solid white, no wood grain, since that does make the pale fibers harder to see. I find that under a good light, the white fibers cast enough shadow to be sufficiently visible against the white surface. A textured surface spoils it, making it too hard to see the shadows. Yes, I know that black would be even better, but in my experience that is unnecessary, and complicates the design too much. Not worth it.

Your idea of the recessed magnets holding a piece of thin metal is ingenious. Worth a try. For simplicity (you like simplicity as I remember) I'd prefer just a sprayed-on white semigloss lacquer or other paint. A crime to hide the wood, I know. I did consider using little rectangles of white plastic or formica, recessed flush with the stained wood surface, but that seemed too much trouble and time. Maybe an alternative would be to mask the wood, exposing only the rectangle area where the fibers would be, and spray-paint the rectangle.

Lance

[CreationBear]

I can see where this is going to end up: William's will be licensed by Stickley, and Ray's going to machine his out of a billet of depleted U235.

Now that we have a couple of sturdy minds on the case, though, I'll be most curious about what y'all find to be the optimal source of friction for "volumnizing" the dubbing brush. William's leather strop looks to have possibilities, but I'll be interested if you're going to try other materials. (FWIW, I had high hopes for chamois, but my particular piece left too many fibers on the brush.)

[tie2fish]

This appears to be an optimal block, w, both aesthetically and functionally. Truth be told, I am a rank novice when it comes to dubbing blocks, and only since Doug sent me the shaped wood a couple months ago have I made any real efforts to create brushes using one. My spinning "technique" of which you speak is something that ignores all of the theories about using friction to help shape the brush, and only serves to securely trap the fibers at more or less 90 degrees to the thread with a minimum of skill and/or effort. Therefore, I see little future for it -- at least on this forum.

[paparex]

William,
Your single pin is the same design that Gunnar Johnson illustrated in his book. Makes sense.



And if the hand-planed bevel is faster/easier than rounding the shoulder with a router or sanding belt, then why not? The whole point is to get that pin at about a 30-degree angle—which Gunner did not do, misunderstanding the reason for the rounded shoulder.

What is the purpose of the 30-degree angle of the pin?

[gingerdun]

What is the purpose of the 30-degree angle of the pin?

Paparex.
The angled pin prevents the loop from slipping off prematurely during the spinning process and during the transfer of the spun body from the block to the notched card.
Both of those operations involve lifting the other end of loop (the part with the two loose thread ends), up from the pin at an angle. At the beginning of the spinning, the loop is not yet cinched very tight around the pin, so that is a vulnerable moment. The other time when slippage could occur is when placing the notched card under the body to slip the thread into the notches. When notching the loose ends first, the body has to be lifted up to a higher angle from the pin to make room for sliding the card under the body. Again, the angled pin gives some security, so the thread doesn't slide off. You don't want to lose control of the twist-tension at either end when putting the body on the card, since it can unravel and undo your careful work. Once the waxed and twisted silk has set on the card for a couple of hours, or overnight, the body won't unravel when you remove it from the card. Synthetic threads don't have this setting capacity, and are more likely to unravel and cause the body to fall apart even after being on the card for several days.

My spinning "technique" of which you speak is something that ignores all of the theories about using friction to help shape the brush, and only serves to securely trap the fibers at more or less 90 degrees to the thread with a minimum of skill and/or effort. Therefore, I see little future for it -- at least on this forum.

Bill,

You are the master of fly-tying technique, so there is little that I have to offer, with the possible exception of spinning block technique. I think there is an element of temperament, and perhaps habit, that leads to a preference for one dubbing technique over another. In my case, I grew up with the Clark block, learning from my father, so I have developed an attachment to it. Yet I think that all the other techniques are equally good, and will never be replaced by the block. Some, like Hans's Benecchi spilt-thread method, have certain advantages that cannot be matched with the block.

That said, you may be underestimating its versatility for achieving virtually any kind of dubbing effect you want. There are so many variables to work with: how long or short you make the fibers; whether the fibers are tangled or carded; how densely you lay the fibers on the thread; and the texture of fiber blends. And I sometimes use friction in my hand to make a soft noodle to lay down on the thread in the block. The Clark block can be either a fiddle or a violin, depending upon the taste of the musician.

Lance

[William Anderson]

I really wish I had a few hundred more dubbed loops from the block under my belt. It will just have to evolve like everything else. When I was first considering the block there was some discussion over the friction placed on the fibers during the spinning. Lance, I appreciate what you said about at times using your hand to manipulate softer fibers on the thread. I can also appreciate your use of a smooth untextured surface for spinning. I first tied a number with just the block, using the technique Ray showed me clamping a pair of hackle pliers with a barrel that allows the pliers to spin while you hold the barrel. I played with that for a bit but found that I preferrec to simply lift the two ends of the thread from the groove and spin them with my fingers, allowing the sparser end of the taper to touch the surface while holding the more heavily dubbed end nearest my fingers up to create a thorax portion with wild streak. I taped a piece of felt to the block to increase the friction, but it created some binding and just too inconsistent. I then taped a section of velvet to the block and liked it more, but still wanted less friction, while providing a small amount when it seemed best. The leather is really nice for that, and the color on this block didn't allow for a lot of contrast, but I really found it to work out well enough. I would prefer a black background, but either white or black seems fine.

This is pic heavy but I was able to capture Bill using the Shuck Maneuver while he was showing his technique for tying an Adams Flymph with muskrat belly and Shuck Wax. Enjoy.

Here Bill is laying out his initial placement on the waxed thread


This shows him "carding" the fibers to align them before placing them perpendicular to the thread


Completing the placement of the fibers


Combining the thread ends before attatching the traditional hackle pliers


Clamping the threads


Then out of nowhere, he picked up the block and turned it upside down!...the Shuck Maneuver.


Made some final adjustments of the fibers before spinning


With the block held upside down and the loop hanging free, he spun the pliers to achieve a friction free twist.


After putting the block back on the table, he placed the loop on the cardboard card.


Tremendous focus


And there you have it, The Adams Flymph.


It would be interesting to see the step by step process of others. I commented at one point we had four blocks between us and I saw about 10 techniques.

w

[William Anderson]

CB, you're exactly right about Ray sending specs to Northrop Grumman for block production. He has an engineer's heart. Check out the block below. I know he has shown this before. I have always been a big fan of the Arts and Crafts movement, Stickley in particular and the Roycroft group. I even spent some time a couple weeks ago making notes comparing my own fishing and tying ethos with that of the Mission design work. I won't go into it, but something to the effect of honesty and harmony of natural materials, frugality and economy and a near religious experience bringing one back into accord with a natural order of things. It might seem lofty, and it sounded better in my head, but there is something about why I fly-fish and tie with the techniques and materials that satisfy some need.







It's not easy to see, but he has exacted a small diagram for taper reference into the color card.

w

[William Anderson]

Ray, the bottom is covered with a sueded pig skin. It's the best material, aside from some type of rubber or latex, that I've found for keeping things that are supposed to stay on the table...on the table.



w