How to Complete a Throop Tiger Wrap the FCR Way: Part 1 - The Basics

happy new year youtube bill faulkner with faulkner custom rods bringing you today one of my favorite topics the throughput tiger wrap sometimes also called the holo wrap or holographic wrap uh developed by west coast rod builder scott through these were a very closely guarded secret for years for more than a decade um before scott who was very generous excellent teacher decided that he would share with the rest of us exactly how you put these wraps together they're extremely versatile and allow tremendous amount of customization or color matching like a lot of great techniques they were first brought to the world when scott decided to share uh via rod maker magazine it was published in volume 10 issue 2 in about 2007 and you can still order that back issue or go to the library at rodmaker magazine and download this information essentially these wraps take advantage of what we call an optical illusion called the wire effect and it's where you have parallel lines here you can see it actually wrecking a picture of a striped shirt but we're going to use it's these close parallel lines that create gaps you see through that make the colors change and give the illusion of movement that we're going to capitalize on and so many thanks to scott through and rodmaker magazine for teaching us all how to do this so to understand the mechanics how these wraps work essentially you're going to wrap a base layer of threads one direction in this example we're going to use three threads you're going to apply some coats of finish and then you're going to re-wrap the same number of threads the other direction and remove all but one thread what we're going to end up with at the end is this gorgeous tiger wrap so i'll walk you through all the details and we'll do it step by step but that's a high level overview of where we're going so a couple of things to think about before we get started in terms of color your finished wrap color is influenced by your base layer but is predominantly determined by your top layer thread so all the colors you select matter but the predominant color will be the final thread that you leave on top the movement or depth that you get which is really hard to capture but the amount it changes colors and seems to be moving is determined entirely by the number of coats of finish you apply your base wrap before you complete your over wrap and then finally the pattern you get or the shape is determined entirely by your burnishing technique and i think where some people miss is it's your burnishing technique on your base layer as well as on your top layer so what are we going to need to do this well well it's obviously a thread technique so you need high quality thread for this wrap we are going to be using two different spools of size a fuji ultra poly one is ultra poly and one is no cp so size a no cp in color 21 which is a very light blue we're also going to be using ultra poly size a in color 16 which is a violet or dark purple and then for our accent color we're going to be using a hytina usa aurora metallic in aurora black and the combination of these three things are going to give us what we get i did not choose these threads by accident note that we have a very light colored thread that's ncp and won't wash out we have a very dark thread in the purple and then we have the metallic which happens to be color changing that will add some accent they're all size a we're going to use them for both the base wrap and the over wrap and it's critical that we have a high degree of contrast in our colors so at least one very dark and one very light color we're also going to need some high quality finish here i'm using a gen 4 regular high build you can also use the original high build flex coat both work extremely well and then you'll need all your other tools a way to level the rod a cigarette lighter some tweezers some brushes some razor blades you know fix your fuzzies and everything else if you want to understand this process watch my other video on how to finish butt wraps and obviously it's a luxury if you can have an excellent piece of equipment like this flex coat motor that'll turn at 200 rpms so before we get started we're obviously going to wash our hands i love this stuff grip clean one of the best things so wash your hands really well before we get started all right so let's get started what i have here is a piece of scrap blank and i just glued on a piece of eda and a winding check to simulate a grip just to make it easier for you to follow so what i'm doing here is i've got all three threads loaded in my lathe and i'm pulling on each one individually and i'm getting the tension exactly the same this is key you need all your tension balanced uh so that the threads don't wrap over one another as you're trying to wrap them three at a time so i've adjusted my tension and i'm going to start with my dominant or sort of dark color and start the wrap up against the uh up against the lining check full disclosure you could start the wrap with all three uh threads or you can start with the one and cut in the other two um it often doesn't matter but in this case i'm going to start with my the thread i'm going to keep in my final top coat of my over wrap and then i'm going to cut in the other two threads which will be permanent in this base wrap but will be my sacrificial threads in my overwrap so all the normal things you do to get a wrap started here keep it nice and straight keep it packed and we're going to trim off this tag in here in a second and keep wrapping forward here we go so now we can begin wrapping you see this you can see why this is a scrap blank it's not very straight it's got some wobble to it but uh it'll be good enough for the video um i'm going to wrap about a quarter of an inch i think you just want to be mindful of how long your starting wrap is and your ending wrap is because you'll be doing tie-off wraps over them later so now i'm gonna pull my two threads uh that are gonna add to my purple here and there's a lot of ways you could cut them in um you could slide them under you could wrap them around there's lots of ways to do this i think the key here is see how i'm putting you want your dark thread and your light thread far apart and you want your metallic if you're using it in the middle and the reason why is the metallic thread with the core that's wrapped with filament has some texture to it and it will climb up on the other threads much more easily than a smooth nylon or an ocp thread and so if you're going to use a metallic like i'm using here keep it in the middle and then you always want to keep your lights and darks far apart from each other for contrast purposes so if i was using six threads here which is a lot i would still have my darkest thread to the left and my lightest thread far to the right and now i'm just going to start smoothly wrapping and you can see renzetti makes this very very easy and i'm going to trim my tag ends um i'm wrapping by hand i'm using both hands kind of off camera and i'm just rotating very very smoothly you don't have to go fast and you can see i'm able to easily easily burnish and move the threads so in terms of thread tension much less tension than you would use for a guide wrap or a tie off of a butt wrap but not so much tension not so loose that it's loose and sliding all over the place or climbing up over each other but you can see i'm slowly moving the the rod um we're wrapping obviously from left to right and i'm keeping my wrapping point the same and i'm actually moving my rod oops i had a little bit of an overlap got to back up straighten that out that's the whole key to these wraps on both the underwrap and the overwrap is that they have to be smooth and even and perfect and see i'm just burnishing to make sure and it evens right out see how it looks uniform and perfect again and we're already the camera's already giving us a little bit of mire effect the the optical losing just from these parallel threads on camera but you don't need to burnish too much as you go i'm just checking to make sure that i don't have a mistake one of the things that's kind of cruel about these wraps is the entire effect is created by the consistency of distance between threads and so any inconsistency of difference is very apparent and flaws just jump off the screen at you so when if you make a mistake on these they look awful and you can tear off your top wrap if you make a mistake there but your butt wrapper the underwrap here you can't the bottom layer so you got to make sure it's perfect and flawless and notice i'm not going too fast you can sort of see the masking tape on the right spinning around just kind of slowly and evenly maintaining a very steady speed and keeping very even tension and keeping the wrap very very even now every once in a while i'm gonna accidentally if you watch right at the juncture of the thread where it's going on the rod i will occasionally uh make a mistake like that and over wrap and the threads start to separate and go over each other no problem just back up renzetti makes it real easy just back up a little bit and make sure you get it right and don't let the threads twist or change positions at all then you kind of pack it back in place and you can see once again we're moving really smoothly the tension is pretty light it stays in place but it's easy to move and burnish the threads and that's going to be critical because that's how we're going to get our pattern right so um overwrapped overlapped a little again there i'm gonna have to see see where it's overlapped and it's not perfect i'm gonna need to back up reverse tension get it right and go forward again and go slow do that as many times as you can these wraps will not tolerate a single mistake so if your thread is climbing if you're having trouble getting a smooth wrap like this check to make sure your thread tension is very consistent that all three colors require about the same resistance to pull off the spool also again put your metallic in the middle if you can and it makes it easier if you use all the same size threads so i'm gonna do a second video about advanced tiger techniques and you can use different size threads like d and a and c together but again it does tend to make it harder it's easier for the threads to climb makes it harder to burnish etc so keep it simple until you've got it mastered use all the same size threads in this case size a go really slow look i overlapped again just got to pay attention and notice that i'm i'm moving the rod you could see the foreign when we started now you can't even see that eva grip i glued on we've the the wrapping point has stayed the same but i'm slowly moving the rod from my right to my left as i wrap and so once we get down here to about a quarter of an inch or even whatever length you decide even with the the the wrap you started with of just purple we're going to go an extra wrap around from the measured point we're going to cut our two threads that will eventually be our sacrificial threads on the overwrap keep our purple our main thread and i'm going to start to wrap over and just keep it packed in here remember your thread is a little loose there's going to be a little bit of a gap there by those two threads just try to pull and make it as small as possible none of this will really show it's going to be wrapped over we'll put in our tie in loop tie off loop excuse me and i'm going to wrap a little further and then i'm going to trim these threads uh one at a time kind of a flat angle so they'll we'll be able to wrap over them really easy now i'm going to continue my tie off wrap and finish it at this point just like you would any normal wrap i'm using my packing tool to keep the wraps really tight and uniform and we're almost there so now i'm gonna cut my main thread pull it under and use a sharp clean razor blade to trim it off without doing any damage to the blank which wouldn't matter because this is a scrap blank but it's just good habit put pinch it down with my thumb so it doesn't keeps a straight edge use my thread packing tool to create a little bit of a gap lay the razor blade flat against the rod blank without touching it and pull the thread against the razor easy peasy and now that's our base wrap and so um now you want to do two things oops there's i created a flaw but you can see how easily the thread moves that that's what you need to see with your thread attention to see how easily i move it back you need to be able to very easily move the thread so first just burnish it and make sure everything looks uniform once i've got everything perfectly uniform and smooth i'm going to start burnishing for effect and so i'm doing this at a little bit of high speed but what i'm doing is rotating the rod with my left hand and i'm burnishing long strokes both up and down the blank and i'm just trying to create some s curves in the thread so it's not going squarely around but when you look at it it looks weight from here we're going to start adding coats of finish to our base coat and like i said the movement or depth is driven entirely by the number of coats you use and this is where people get lazy i'm going to use four coats of regular high build finish between my base wrap and my over wrap so this is coat one once it's on and bubble free and level we're going to put in the flex coat 6 rpm turner and let it rotate and we're going to wait we really need to wait four to six hours before the next coat so let's tie some flies and refill the fly box while we wait for uh our first coat of finish to get ready once that one's dry enough we're gonna level the rod put on our second coat of finish and then we're gonna wait so maybe we'll tie a couple more flies fill up the boxes maybe learn how to powder coat some yeti cups and wait now it's time for our third coat of finish most people give up by now but we want awesome depth and movement so we're putting in the extra effort third coat and then we wait maybe this time we'll work on our snakeskin inlay technique or we'll figure out how to inlet uh carbon fiber fly grips and at last our fourth and final coat of finish the waiting's over right no it's not over now you gotta wait 24 to 36 hours to let this final coat set up hard and firm so that you're able to burnish your over wrap so use the time to register all your accurate reels or build a new do-it-yourself rod rack maybe throw a butt on the smoker and grab the latest issue of rod maker magazine and learn how to be a better rod builder right finally the finale is almost here we've uh given it 36 hours this finish is really hard it's hard to dent with your thumbnail i'm again using the same three threads i use for my underwrap but i'm starting at the opposite end and again i'm pulling all three threads to make sure that the tension is the same and you're gonna need a little if you're gonna do it my way you're gonna need a little piece of masking tape so i'm gonna tack a little piece of masking tape on the rod there and i'm gonna go ahead and start the wrap we did the base wrap from left to right now we're doing the over wrap from right to left it doesn't matter really which way you go but you have to go in opposite directions or else you will not get any effect so go opposite on the over wrap you did on the bass wrap so starting our wrap getting it nice and square all the way around the rod blank starting as close off the edge as we can keeping it nice and square i put some pieces of masking tape on the end here so you can see the speed at which i'm rotating and i realized it was a little hard in the earlier videos so trim our tag in and we're going to go ahead and wrap this base thread this is the final top coat thread this is the color that will survive and be our predominant color and you can see how well we burnished it that edge is not straight for our underwrap that's a good sign we want all that thread movement so now once i've got the purple all the way over the kind of underwrap from the last time we get to the part where the three threads start we're going to cut in these three threads i'm sorry the two additional threads these are our sacrificial threads that are eventually going to be removed so we need to think about that as we add them in there's more than one way to do this but here's how i like to do it again putting the metallic in the middle and the light blue on the outside the furthest left um and i've created some slack here so i'm gonna have to manage that and tension it by hand a little bit but i'm gonna get these threads aligned and i'm going to cut them into my wrap in such a way that i can go back later and remove them and so i just back wind them i get them next to the purple and backline them a few turns make sure i don't get them crossed over meaning i keep my lightest color to the left and metallic in the middle and i'm just going to wind them down the blank couple times tack them down with a piece of masking tape that's good for now so now that may be a little sloppy and that's okay i'm just going to tighten it up here use my burnishing tool make sure i'm and and again just like it can be hard to tie it off when you go from three threads to one when you suddenly go from one thread to three it changes your angle and these first couple wraps can be a little tricky just go slow and be make sure make sure they're perfect you cannot have thread climbing on top of each other and you cannot have big gaps anything that's not completely sort of symmetrical and even is going to just show really dramatically and the reason why that is is the whole wire effect is driven by uh the consistency of lines a consistent distance apart that creates the optical illusion and so if you get your thread wrapped too close together or too far apart it clearly disrupts the optical illusion and it's just really visible but you can see now with the four coats of finish maybe better than you could before you see how much there's s curves and back and forth movement in my base wrap i'm looking to the left of where i'm wrapping at the part that i haven't wrapped over yet and you can see how you you're getting all that movement and the thread does not evenly go around the blank that's what we accomplish with our burnishing with that under layer so now we're wrapping a very smooth very even layer the same as we did on the underwrap in the overwrap and murphy's law everything that can go wrong will go wrong while you're on camera and actually had some thread uh from my eight thread carriage start to get tangled in these three threads and start riding up so i'm having to reach over across off camera and resolve that and now i've got the threads got a little twisted you want to just make sure they don't twist you're going to have to go back and remove these two sacrificials you got to keep them like a flat even ribbon and keep them all in the same place so my white blue is to the far left my metallic aurora metallics in the middle and my dark purples to the right make sure they stay that way if they cross over at any point in this wrap you're going to have problems and you can see so far very even very uniform very smooth again my tension is light so i can easily burnish and move threads and i've let the finish set up really hard if you try to go too soon and do this wrap and your thread your finish from your underwrap is soft at all you cannot burnish you cannot correct because there i kind of overwrapped i accidentally climbed the threads climbed a little bit so i'm going to go back and carefully correct and make sure i don't have too big a gap i got a purple sticking up proud let's see if i can burnish it down yep okay it goes right back down so i'm okay if you have any imperfection like that purple sticking up you gotta back up and fix it or it's gonna look awful in the finished project and excuse me product so make sure you go slow and you are ocd about how perfect you get this again very even very uniform all the threads are laying flat nothing's sticking up also no big gaps sometimes you get there's a little bit of a purple sticking up you see that let's see if i can get it to yep it goes burnishes right back down so that's good if it didn't i would have to back up and fix it and now i'm just trying to center the camera a little bit i realize and you can see the rod the the thread wrapping juncture is staying the same i'm slowly moving the rod from left to right you see the foregrip starting to come into view here as i move that's how i like to do it you can try to travel your thread carriage if you'd rather do however works on your leg but this works really well for me to just be able to move oops just overlapped a little bit there but got away with it you just go slow and if you if you get a problem you back up but definitely fix it right at the point where you're wrapping if you realize once you've wrapped down the rod two inches that you've got a problem back up the rod it's very hard it's feet of thread you got to remove and back tension to correct it so just go slow and get it right the vast majority of mistakes i see in tigers are because you don't let the finish set hard enough before you go with the overwrap or because you made a minor mistake we all get excited it's so fun you're wondering what it's going to look like you can't wait for the reveal you want to hurry up and be done with this but you've got to be very very patient and that's that's part of getting a really good result it's also going to give you the option of pulling it off and starting over if it doesn't turn out well and we'll talk a little bit about that and i'm gonna i'm gonna cover some of that in the more advanced techniques video and again i just started to get a little bit of overlap there gotta be careful and i've got some more thread getting tangled and i'm realizing now it's hard you've lost the reference mark over on the right i want to make sure you keep some sense of top and bottom of the rod blank since there's not a real seat to help keep oriented but my marks that we could originally see have moved off camera to the right so just giving you a sense of what's the top and the bottom of the rod in terms of how we finish this wrap and tie this thing off but getting pretty close to the end now nope got to back up you see i got still got a little just slowly go until you get it right it will not tolerate any mistakes or thread climbing or overlap so be very picky you see how even and consistent and uniform the wrap is across the whole distance that's the whole key to these wraps oops over at there a little bit okay now once i get to where that all three threads are kind of meeting the point where i hit my underwrap or my kind of tie off wrap i'm going to go to the bottom of the blank go one extra turn now i'm going to pull my metallic and my light blue which are my sacrificial threads they're the ones i'm going to get rid of i'm just going to cut them and back up one wrap and start to wrap over them with my main purple thread that's going to remain and i do tighten my tension on the purple a little bit here to more like what you use for guide wraps i'm gonna go once now twice over the sacrificial threads that are gonna come out and now i'm gonna start pulling them back to the right so that i'm not over wrapping them anymore i'm just closing the gap keeping things burnished and just make sure they don't get kind of entrapped or caught up in it i can change my angle now that i'm back to wrapping one single thread and i'm going to keep packing back towards the wrap make sure i get a tight tie off wrap and pretty soon here i'll put in a tie off loop to help finish the wrap oops be careful not to get wrap under or wrap over again your sacrificials you want to have wrapped over them twice and leave them kind of sticking out crazy you'll see why here in a minute because it makes it really easy to remove them keep packing your wrap tight just like you would any other wrap you don't want any gaps we're just going to finish off this tie off wrap till it just about touches the winding check and we'll be done so now i'm gonna a little hard to pin down against the winding check there so i'm gonna hold it with one hand trim it with the other use my thread tool to open up my loop and then just pull this through trim it off you know easier said than done of course nothing goes easy on camera right marilyn and pull this under and i'm gonna gotta be a little careful here i'm gonna go the wrong direction with my razor blade but it's close enough for government work since we're gonna end up over wrapping this anyway and then i'm gonna burnish that under just don't cut your tie off there i'm just gonna bury that tag a little bit and then i'm gonna take my scissors and where these two sacrificial threads are i'm gonna trim them pretty close like 3 16 of an inch or so and uh perhaps the most critical step so um looks good and even and now we're gonna do some burnishing and again like the first time we're gonna do two types now i'm just getting things good and even just smoothing it out no imperfections no problems as smooth and uniform as we can get now i'm going to start burnishing for effect and you see us i focus on the top and bottom of the axis on a rod that's no bigger round than this you can focus on all four axes and you see the thread moves really easily a larger diameter rod blank you might you might look at all four you know points of the compass or you know 0 90 180 270 but really with a smaller freshwater inshore kind of blank i'm really just focusing mostly on the top and the bottom so here you can see i'm on the bottom and we'll do a little bit of work here on the side here and there and i'm just using the burnisher to disrupt it create patterns and swirls and push it together in some places and pull it apart in others and just kind of create a random pattern um and no giant gaps and no big flaws but you definitely don't want the thread evenly around the blank you want to create those s curves and and weird movements that are going to give you uh the pattern in the finished product and you don't have to overdo it um this is one of the hardest parts is learning how to get a predictable result but we're just going to burnish it up until it's highly irregular and then and then let it sit for two to four hours at this point the suspense is almost killing us but you gotta let it sit for a few hours to kind of set and to get a groove because if you try to go pull these threads immediately it is very very easy to move the purple thread and if you move it even a little you can ruin the entire thing so i've just taken the piece of tape off that was holding my sacrificial threads down and i'm slowly unwinding the rod very importantly i am not pulling and rotating the rod by pulling the threads i know you can't see this but i am rotating the rod with my left hand off camera and i'm gently with some slack you can see here the memory on the metallic throat i've kind of got bunged up be so gentle you're just gently gently letting the thread fall out of the wrap you do not want to pull on it such that it creates tension because if you move the purple thread at all and you see i'm being very careful not to touch it uh you can ruin the whole thing at this point and i've gotten my threads out of sync my metallic is actually a couple of turns more unwound than my light blue but now we start to see our pattern and you can see it looks excellent we're getting lots of lava lamp type movement swirls uh you can see we clearly have some focus on the top and bottom on those axes that we really focused on with our burnishing and i can already tell we're getting some really really good movement those four coats of finish between the underwrap and the overapp have clearly paid off we did an excellent job burnishing and and we were patient and let the final coat of finish on the underwrap set really firm and all that excellent burnishing look at these patterns we're getting i mean this thing just gets better and better as we go absolutely delightful this this is what i'm looking for sort of what doc ski calls the uh lava lamp movement um and if you have a lot of good movement and you have these circles and swirls and bull's eyes to me those are the most appealing patterns and look the very best so this thing just looks great and you can see we have a lot of color now remember we use light blue a metallic that changes between purple and teal and a purple thread with our over being purple and you can kind of see that it predominantly looks like a purple wrap we will get some of the teal and purple metallic and we don't even really get much light blue we just get some contrast it would be slightly brighter if we had used ncp white but it'd be the same thing so you sort of get the point of the colors they all influence it but it's the main purple color that is the predominant color and this thing looks great you can see from multiple angles we've got really good patterns really good colors this just turned out phenomenal absolutely gorgeous so now we're just going to apply a coat of finish right so a couple of words of caution about your final finishing on these things essentially what you have is an open top layer with a very consistent interval between threads and that means it can hold bubbles so be very careful with your brush pressure and be mindful of the direction that you're running your brush you don't want to force bubbles into those gaps because they can be hard to get out and this is where a product like gen 4 with its excellent bubble release uh really pays off and again in the spirit of murphy's law i've been using these brushes for years i've never had one shed a bristle and in the middle of this rap on camera a bristle comes out and i believe another one's going to come out here in a second but essentially i don't know if you can tell by looking but i'm just using incredibly gentle pressure you do not want to move any threads this thing looks perfect right now and uninterrupted and gorgeous but i can't tell you there goes another bristle sorry i can't tell you how easy it is to move one thread a fraction of an inch and essentially ruin the wrap you need to be very very careful and very mindful so just got it going at 200 rpm on the flex coat variable speed dc motor and we're just going to put an even thin coat in terms of thickness you want a pretty thin coat because you're going to have to go back and do tie off wraps and put a decal on or a logo or inscription or whatever but you do want it thick enough gen 4 you can get so thin it's very easy that you have thread ridges you can feel after this coat so we want to use enough finish that we hide the thread ridges but it's certainly a thin coat to aid with bubble release and i'm just going back over to final time make sure we got a very very even coat add any if i need to i'm going to add a little bit because i'm seeing thread ridges there just add that in again very very gentle you this is why we wait for a long time even after we've done the overwrap before we pull the sacrificials this thread will get a groove going in the finish coat underneath it and it will it will be pretty stable and it won't move if you try to immediately pull your sacrificial threads and immediately try to finish it it's really not set and it's very easy to move and you got to be careful so this thing just looks spectacular we're going to hit it with a well we're going to spill finish everywhere first murphy's law then we're going to hit it with the lighter make sure there's no bubbles generally not really a big deal with the gen 4 but we just want to check and make sure they can get trapped between the the wraps of purple thread if you're not careful um and this thing looks great so now we're just gonna do some long horizontal strokes to even it like i cover in the butt wrap finish video just to make sure we're real even and look at the patterns and you start to see the depth really pop this thing just looks phenomenal now we're going to put it in a 6 rpm dryer and let it set so you can see now this is the first coat of finish rotating we got some beautiful patterns see the color change and look at the movement it's hard to keep it in focus but if you see if you look at the center of these bullseyes look at the way they change as i move from purple to light blue to patina blue purple just really pretty colors it's so hard to get the hytina color change on camera but it really is flipping hard from kind of a teal uh blue green to the purple so from here you're just gonna do some complimentary tie-off wraps add any decals inscriptions labels and you're good to go treat it like any other butt wrap so while we showed a three thread tiger you can certainly do them with two threads and they're simpler and it might be a good place to start just make sure you use very high contrast threads you need a very dark and a very light ncp thread for your base coat in this video we also use the same size all size a threads if you are getting a barber pull pattern or you cannot seem to get a different pattern than this sort of almost stripy looking pattern it means you're either changing thread sizes or you're not letting your undercoat finish set hard enough and it's making it so you can't burnish enough to get good patterns you might also have thread tension that's too high so play with those things if you keep getting these barber pole looking patterns that aren't very appealing you also need to be mindful of using too light a top coat thread or just using not enough contrast in general this is a light blue and silver two thread tiger and you can see with the silver over it just it lacks much contrast and it almost disappears so make sure you keep contrast and be careful with light colored over wraps you can absolutely use a light colored over wrap just make sure it's ncp do not use regular nylon or it will sort of wash out and disappear in the grand scheme of things tigers aren't difficult but they have to be perfect so if you make a mistake if it doesn't look good if your spacing is uneven pull it off don't think twice wait a day and redo it i guarantee mistakes will make them look terrible so just pull it off and start over and finally don't be afraid to use subtle colors and earth tones you don't have to use bright vivid colors all the time but you do have to make sure that you maintain contrast and no matter how subtle you go in your coloration make sure you have a good contrast from darkest to lightest colors so thanks so much for watching i hope this was helpful please like and subscribe and stay tuned for some more advanced tiger techniques and tips and tricks thanks

Channel: Falconer Custom Rods

Views: 14,654

Rating: 4.9452057 out of 5

Keywords: iMovie, custom rod building, custom fishing rods, advanced rod building, throop tiger butt wrap, holographic butt wrap, how to build custom rods, custom rod thread art, custom rodbuilders guild, falconer custom rods

Id: x05oePVRgAk

Length: 36min 3sec (2163 seconds)

Published: Sun Jan 03 2021