Note: In the first issue my article on dyeing and substitute materials wasn't the complete explanation I had hoped to present. Perhaps this will mate my ideas clearer. I do believe that a substitute should be as close a representation of the natural material as is possible to create. But in dealing with small feathers you reach a point where fussing over small details ceases to be a practical matter. Though tie following instructions may appear overly complicated, the marking of the Ruffed Fruit Crow feather should take no longer than a minute, the marking of the Florican (entire feather) less than five minutes.

The substitute for this feather is found on the white-band feathers from a ringnecked pheasant. Of course the feathers must be dyed the base dirtyyellow color of the natural. I use two separate dye formulas of RIT dye to achieve this color. For those that have not seen a Fruit Crow feather the color is difficult to describe. The base of the feather is dark gray to black, the body of the feather is dirty-yellow grading into iridescent yellow, orange and red at the extreme tip. The very end of the feather often has a very fine dark brown bend on the ends of the fibers. The feather is also humped, or knuckled, at the beginning of the yellow color; the over-all outline of the feather has a blunt tip, not pointed as with a chicken hackle. A representation of the color of the hackle can be found in the BORGER COLOR SYSTEM (BCS), or in Pantone pens. Body of the feather is BCS 53 (Pantone pen 130), tip is BCS 85 (Pantone pen Super Warm Red).

The first dye formula gives the best color, but it is more difficult to adjust than the second.

Formula #1: RIT #1 yellow (3 parts), #16 tan (1 part), #23 gold (2parts), #40 tangerine (1 part).

Formula #2: RIT #1 yellow (3 parts), #17 rust (1 1/2 parts).

Be sure to add acetic acid (or vinegar) to set the colors. Time in the dye varies with temperature. At 120 F, about four minutes. If the color is too dark, place the feathers in weak color remover until they fade, wash, then try again.

After drying, the tip portion of the feather is marked with an fluorescent orange SUPRA Hi-Liter. The fiber tips (1/8") are marked with a "Red" SHARPIE marker pen, the extreme tip ends just touched with a brown "Sharpie" marker. The feather is then marked from the base to the tip with a "Skilcraft" yellow hi-lighter. The ink carrier for this pen partially dissolves the other inks, adding a two-tone thin orange bend just above the red. Be sure to clean the tip of the yellow marker after each pass over the red ink. (An alternate red pen to use is a TOMBO ABt #845ro. This color is a orange red, very bright. But the ink is water based and may need to be remarked after the feather is curved.)

To finish creating the appearance of the natural the dyed feather is moistenedand the tip curved by an eyelash curler, or similar appliance. Some of the ink may appear to come off on the rubber anvil. This is some of the ink dissolved by the yellow hi-lighter and does not hurt the appearance of the final feather. If too much yellow is used the other inks will not set properly and may have to be remarked. Safest way to handle the dyed feather is to let the ink dry before handling; and not to use excessive moisture prior to setting the tip curve.

To get the most accurate curve on the feather using an eyelash curling tool, place the damp feather on the rubber anvil with the best side of the feather towards the rubber. Close the jaws on the tip just past the red marked band. Hold the jaws of the tool closed with a rubber band. Attach a pair of hackle pliers to the stem of the feather, and allow their weight to pull the feather over and down the backside of the rubber anvil. Set aside and allow to dry.

When dry, remove the feather from the tool. Snap the feather with your finger to separate the fibers. At this point the feather should have the most. bizarre stair-step bend on the end that you would ever expect too see. IF,YOU PLAN ON REMARKING ANY OF THE TIP OOLOR - DO IT NOW! Gently place the feather over a steamer so the steam briefly touches the feather underside. Instantly the feather will start to flatten. One or two brief passes over the steam and you should have just the right curves in the feather. Too much steam wi11 completely straighten the feather, and you'll have to go through the bending procedure again. If the tip of the feather needs more red, gently mark the ends of the fibers but do not touch the bend with wet ink.

I have not found a better feather to use for this process than the white ringneck pheasant feather. Used for cheek veiling, small feathers of this type are adequate if they are coated with a marker pen, such as the Skilcraft. The pen ink mats the fine feather barbules, giving the final product the needed lacy appearance.

As for the overall appearance of the feather tip, the choice is up to you. Each subspecies of Pyroderus scutatus has a slightly different feather coloring. The marking I use is for P.s. occidentalis. This coloration is more suhdued than that of other subspecies, which works well with the process I use. What ever coloration you decide on keep in mind the following points:

1. Heat (acids or aLkali) used during the original curing, or cleaning of the skin may have altered the color of the feather you are using for a model.

2. The iridescence of the natural feather is formed in the structure of the feather barb, those barbs lack barbules. If you dye a substitute feather with an iridescent dye, most of the shine is on the barbules. Mat the feather to achieve a lacy appearance (as is wetting to set the curve) and most, if not all, the effect of the iridescense is lost. For that reason, you might as well use a marking pen to color the feather.

3. Blending the tip coloration is important. That is why I used the yellow marker to carry the orange and red colors to the tip. The yellow also blends with the red to brighten that color. I did discover that using water-based pens is not something you wish to do. The carrier for the ink in those pens causes the dye to bleed back towords the stem of the feather along the barbs. You do not get a clean, smooth banded appearance; and there is no way to correct the bleeding once it begins. 4. The coloring process I use will leave excess dye on the feather. This dye will cane off when the feather is dampened. This will not hurt the appearance of the final product, with the exception that the red tip color may need to be enhanced. Remember, the amount of dye moved is directly proportional to the amount of moisture placed an the feather prior to its being reshaped. If you get carried away with wetting the feather, you could acquire a colored tongue.

I also suggest that you not use PANTONE markers. The carrying agent in those pens also bleeds into the feather fibers. If you choose to use another marker you might consider DESIGN. I, along with John Betts, believe it is superior in every way to PANTONE.