Streambed Caddis Fly Trucker Hat
by @dekasso
A caddis drying off on a warm stone.
An adult caddisfly perched on a wet river stone, in olive, umber and tan, for days spent on moving water.
An adult caddisfly rests on a smooth, wet river stone, antennae swept forward over a blur of mossy streambed rocks. It is coloured in deep olive, moss green, umber and tan, with cream light on the veined wings and water droplets.
- Adult caddis on a wet river stone
- Long antennae swept forward
- Veined tan wings with cream light
- Soft olive and gold streambed behind
- Water droplets beading on the rock
The cap
One design, four caps. The front panel is what the paint or the dye sits on, so it changes the hat.
Trucker
The house cap — structured mid profile, foam-and-mesh back, snapback.
Specs
- Profile
- Mid profile
- Build
- 6-panel · Structured — buckram behind the front
- Crown
- 3½ in (8.9 cm)
- Visor
- Pre-curved, 2¾ in (7 cm)
- Closure
- Snapback
- Adjusts to
- 21½–24 in (54.5–61 cm)
- Airbrushed on
- Natural cotton twill
- Sublimated on
- White polyester foam
Rope cap
Structured five-panel with a near-flat brim and a cord across it.
Specs
- Profile
- Mid-high profile
- Build
- 5-panel · Structured
- Crown
- 4 in (10.2 cm)
- Visor
- Near-flat, 2⅞ in (7.3 cm), contrast rope
- Closure
- Snapback
- Adjusts to
- 21½–23¾ in (54.5–60.5 cm)
- Airbrushed on
- Stone cotton twill
- Sublimated on
- White polyester twill
Dad hat
Soft, low and unstructured — washed cotton with a strap back.
Specs
- Profile
- Low profile
- Build
- 6-panel · Unstructured — soft front
- Crown
- 3¼ in (8.3 cm)
- Visor
- Curved, 2¾ in (7 cm)
- Closure
- Strap back, brass buckle
- Adjusts to
- 21–23½ in (53.5–59.5 cm)
- Airbrushed on
- Washed khaki cotton
- Sublimated on
- White polyester twill
Five-panel camp
Flat brim, low crown, packs flat in a vest pocket.
Specs
- Profile
- Low profile
- Build
- 5-panel · Unstructured
- Crown
- 3¼ in (8.3 cm)
- Visor
- Flat, 2½ in (6.4 cm)
- Closure
- Strap back, side-release clip
- Adjusts to
- 21½–23½ in (54.5–59.5 cm)
- Airbrushed on
- Field olive nylon-cotton
- Sublimated on
- White polyester
Fit
| Cap | Profile | Crown height | Visor | Adjusts to |
|---|---|---|---|---|
| Trucker | Mid profile | 3½ in (8.9 cm) | Pre-curved, 2¾ in (7 cm) | 21½–24 in (54.5–61 cm) |
| Rope cap | Mid-high profile | 4 in (10.2 cm) | Near-flat, 2⅞ in (7.3 cm), contrast rope | 21½–23¾ in (54.5–60.5 cm) |
| Dad hat | Low profile | 3¼ in (8.3 cm) | Curved, 2¾ in (7 cm) | 21–23½ in (53.5–59.5 cm) |
| Five-panel camp | Low profile | 3¼ in (8.3 cm) | Flat, 2½ in (6.4 cm) | 21½–23½ in (54.5–59.5 cm) |
One size per cap. Run a tape around your head just above the ears, keeping it level — anything inside the range above will close on it.
Two finishes
The same design, made two ways. Pick one in the panel; the cap and the quantity are yours to choose too.
Hand airbrushed
$85 for one hat, on a trucker
Painted to order — would ship in about 2 weeks
How it is made
- How it is made
- Sprayed by hand through this design's own stencils, one layer at a time, each left to dry before the next mask goes down.
- How it looks
- Soft gradients and hand-cut stencil edges. Every cap is a little different.
- What it sits on
- On a natural cotton twill front.
- Durability and care
- Water-based paint, heat set and sealed. It takes rain and a season on a boat; spot clean with cool water, never a washing machine.
Sublimation printed
$32 for one hat, on a trucker
Printed to order — would ship in 5–7 business days
How it is made
- How it is made
- The design is printed in dye onto transfer paper, then pressed with heat so the dye soaks into the polyester fibres.
- How it looks
- Full colour edge to edge, and identical every time.
- What it sits on
- On a white polyester foam front — sublimation only takes on white polyester.
- Durability and care
- The dye is in the fibre, not on it, so it will not crack or peel. Gentle wash, air dry.
The artwork
A caddis sits on a rounded river stone, its tented wings laid back and its antennae reaching out like fishing line. Behind it, the streambed melts into soft green and gold stones. Cream light catches the wing cells and a few beads of water along the rock.
Wear it to the river when the evening hatch starts, or to the shop when you are only dreaming about it. Anyone who has watched caddis skitter across a riffle will know the shape at a glance, and the olive and umber tones sit quietly with waders and field shirts.
Cream highlights carry the whole piece. Kept thin and placed only on the wing cells, the droplets and the stone's top edge, they turn flat tan and umber into something that looks wet and alive.
What arrives
- The hat
- A care card
- On a hand airbrushed hat, a numbered tag naming the water it was painted from, when the design names one
Looking after it
Hand airbrushed
- Spot clean with cool water and a soft brush. Never a washing machine.
- Keep it out of a hot car for long stretches — heat-set paint is tough, but a dashboard in July is not a test worth running.
- Reshape the brim by hand while damp.
Sublimation printed
- Spot clean, or gently hand wash in cool water. No bleach.
- Air dry. Do not iron the print.
- Reshape the brim by hand while damp.
- The dye is in the fibre, so the print will not crack or peel.
Details
Airbrush palette
- Colours
- deep olive, moss green, ochre, umber, tan, dark brown, cream
Details
- Category
- Adult Caddis
- Subject
- adult caddisfly
- Style
- realistic wildlife illustration
Make it yourself
The palette
- Deep olive
- Moss green
- Ochre
- Umber
- Tan
- Dark brown
- Cream
The layers
8 layers, in this order. Each mask comes off and the paint has to dry before the next one goes down.
- Backdrop
- Background stones
- Stone glints
- River stone
- Stone mottling
- Caddis body
- Tented wings
- Highlights
The kit's stencil set is cut from these layers; with the cutter (12 hats and up) you cut your own from this design's layer files.
How to mix each colour
Deep olive
2 parts yellow, 1 part black, a drop of red to warm it
Moss green
2 parts yellow, 1 part green, a drop of black to deaden it
Ochre
2 parts yellow, 1 part brown, a drop of black
Umber
Equal parts red, yellow and blue, then a drop of black to deepen it; or burnt umber straight from the bottle
Tan
3 parts white, 2 parts yellow, 1 part brown
Dark brown
Equal parts red, yellow and blue, then a drop of black to deepen it; or burnt umber straight from the bottle
Cream
White with a drop of yellow and the smallest touch of brown
Setup
- Ventilation or a spray booth. Water-based paint still throws a fine mist, and you will be breathing it for hours.
- A half-mask respirator rated for paint mists. A dust mask is not one.
- A compressor with a moisture trap, set and tested on a card before you start: wet air spits water into the paint.
- Reducer and a cleaning pot within reach, so a clog is a ten-second fix instead of a ruined panel.
- Spray a test card for every colour before it touches the cap. Colour reads differently wet, dry and on twill.
Prep
- Lint-roll the front panel. Every fibre left on it prints as a speck in the paint.
- Mask the mesh, any seams you want clean and the whole visor, underside included, with low-tack tape and paper.
- Stretch the crown over the cap jig so the front panel is taut and curved the way it will be worn. Spraying a slack panel flat distorts the design when it is worn.
- Spray one light coat of transparent base so the colour sits on the fabric instead of soaking into it.
Layer by layer
1 · Backdrop — 0.5 mm · 25–30 PSI
deep olive — a dark green field filling the whole panel
Mask None on the panel itself: the mesh and the visor are already masked from the prep.
Colour Deep olive — 2 parts yellow, 1 part black, a drop of red to warm it
- Needle
- 0.5 mm (a 0.35 mm works, it just takes longer)
- Pressure
- 25–30 PSI
- Distance
- 6–8 in from the panel
- Passes
- 3–4 light passes, building the colour
- Dry
- 10 minutes, or 60–90 seconds with a heat gun on low, before the next mask goes down
Tip Fade wet to dry and never lay one heavy coat: twill wicks paint sideways and the edge blooms.
2 · Background stones — 0.35 mm · 20–25 PSI
moss green — round, soft-focus stones behind the insect
Mask Lay this layer's mylar stencil and burnish the edges flat with your thumbnail.
Colour Moss green — 2 parts yellow, 1 part green, a drop of black to deaden it
- Needle
- 0.35 mm
- Pressure
- 20–25 PSI
- Distance
- 4–6 in from the panel
- Passes
- 2–3 passes
- Dry
- 10 minutes before lifting the stencil
Tip Spray away from the stencil edge, not into it, so the air does not push paint underneath.
3 · Stone glints — 0.35 mm · 20–25 PSI
ochre — warm gold rims and glow on the background stones
Mask Lay this layer's mylar stencil and burnish the edges flat with your thumbnail.
Colour Ochre — 2 parts yellow, 1 part brown, a drop of black
- Needle
- 0.35 mm
- Pressure
- 20–25 PSI
- Distance
- 4–6 in from the panel
- Passes
- 2–3 passes
- Dry
- 10 minutes before lifting the stencil
Tip Spray away from the stencil edge, not into it, so the air does not push paint underneath.
4 · River stone — 0.35 mm · 20–25 PSI
umber — the smooth, rounded stone across the bottom of the panel
Mask Lay this layer's mylar stencil and burnish the edges flat with your thumbnail.
Colour Umber — Equal parts red, yellow and blue, then a drop of black to deepen it; or burnt umber straight from the bottle
- Needle
- 0.35 mm
- Pressure
- 20–25 PSI
- Distance
- 4–6 in from the panel
- Passes
- 2–3 passes
- Dry
- 10 minutes before lifting the stencil
Tip Spray away from the stencil edge, not into it, so the air does not push paint underneath.
5 · Stone mottling — 0.35 mm · 20–25 PSI
tan — the speckled, wet pattern on the stone's face
Mask Lay this layer's mylar stencil and burnish the edges flat with your thumbnail.
Colour Tan — 3 parts white, 2 parts yellow, 1 part brown
- Needle
- 0.35 mm
- Pressure
- 20–25 PSI
- Distance
- 4–6 in from the panel
- Passes
- 2–3 passes
- Dry
- 10 minutes before lifting the stencil
Tip Spray away from the stencil edge, not into it, so the air does not push paint underneath.
6 · Caddis body — 0.35 mm · 20–25 PSI
dark brown — body, jointed legs, long sweeping antennae and wing veins
Mask Lay this layer's mylar stencil and burnish the edges flat with your thumbnail.
Colour Dark brown — Equal parts red, yellow and blue, then a drop of black to deepen it; or burnt umber straight from the bottle
- Needle
- 0.35 mm
- Pressure
- 20–25 PSI
- Distance
- 4–6 in from the panel
- Passes
- 2–3 passes
- Dry
- 10 minutes before lifting the stencil
Tip Spray away from the stencil edge, not into it, so the air does not push paint underneath.
7 · Tented wings — 0.3 mm · 18–22 PSI
tan — the long roof-shaped wing panels laid back over the body
Mask The hand-cut subject stencil, inner pieces first, then the outline piece.
Colour Tan — 3 parts white, 2 parts yellow, 1 part brown
- Needle
- 0.3 mm
- Pressure
- 18–22 PSI
- Distance
- 3–4 in from the panel
- Passes
- 2–3 passes per tone, light to dark
- Dry
- 10 minutes between tones
Tip Light tones first: a light colour over a dark one needs many coats, a dark one over a light one needs two.
8 · Highlights — 0.2–0.3 mm · 12–15 PSI
cream — bright wing cells, water droplets and the shine along the stone
Mask None: freehand, with a shield card held against any hard edge.
Colour Cream — White with a drop of yellow and the smallest touch of brown
- Needle
- 0.2–0.3 mm
- Pressure
- 12–15 PSI
- Distance
- 1–2 in from the panel
- Passes
- Freehand, in short controlled strokes
- Dry
- 10 minutes, then check it before you cure
Tip Low pressure, close in and moving: stop the stroke before you release the trigger.
Step by step
Mask the panel edges and fill the full design area with deep olive. Starting point: 25 PSI, 0.5 mm needle, 15 cm distance. Let it dry to the touch.
Cut a loose mask of round shapes for the background stones and dust them in moss green at 20 PSI, 0.35 mm needle, 10 cm. Keep the edges soft so they read out of focus.
Freehand ochre along the top rims of the background stones at 18 PSI, 0.3 mm needle, 6 cm, building a gentle glow rather than hard lines.
Mask the large river stone shape at the bottom and fill it with umber at 22 PSI, 0.5 mm needle, 12 cm. Darken the lower edge with a second pass.
Lay a speckle or torn-paper mask over the stone and mist tan at 15 PSI, 0.35 mm needle, 8 cm to build the mottled pattern.
Mask the caddis silhouette: body, legs and wing outline. Spray dark brown at 18 PSI, 0.3 mm needle, 6 cm. Add antennae freehand at 12 PSI, 0.2 mm needle, 2–3 cm, in one smooth stroke each.
Mask the wing panels, leaving the vein lines covered, and fill with tan at 16 PSI, 0.3 mm needle, 6 cm. Lift the mask to reveal dark brown veins.
Freehand cream into the wing cells, the droplets and along the stone's upper edge at 12 PSI, 0.2 mm needle, 3–4 cm. All settings here are a starting point; test on scrap first.
Let the paint cure for at least 24 hours at room temperature, then heat-set if your paint calls for it.
Finish with a thin, even coat of fabric-safe sealer and let it cure fully before wear.
Cure
- Heat set at 300°F / 150°C. Water-based textile paint is not wash-fast until it is heat set.
- Cap press: 3–5 minutes with a teflon sheet over the design.
- Or heat gun: 2–3 minutes per panel, keeping it moving 2–3 in off the fabric so it does not scorch.
- If you have neither, air cure for 72 hours before the cap touches water.
Seal
- Two light coats of matte fabric sealer, UV-resistant, from 8–10 in, 15 minutes apart.
- Leave it 24 hours before the cap is worn.
- Never a gloss sealer on cotton twill: it shines, cracks along the creases and looks like a sticker.
Clean-up
- Flush the brush with water, then airbrush cleaner, until it sprays clear.
- Strip the needle and wipe it toward the tip, never away from it.
- Never soak the brush body overnight.
Common mistakes
- Over-spraying cream until the wings look chalky. Stop once the cells glow, and step back to check.
- Antennae that wobble or blob at the tips. Lower pressure, move faster and keep the needle clean.
- Hard-edged background stones that compete with the insect. Hold the mask off the surface to soften the edges.
- Sealing before the paint has cured, which can lift or cloud the dark brown. Wait the full 24 hours.
Tips
- Sketch the antennae in light pencil first so you can follow the curve in one confident pass.
- Build the background stones in two light passes; a single heavy coat loses the soft blur.
- Leave a thin dark gap between the caddis body and the stone so the insect sits on top rather than melting in.
- Add droplets last, with a tiny dark shadow under each cream dot, so they read as water.
Every kit size
Trucker · kit for 1 hat
$224
Bought separately $249 · you save $25
Includes Starter airbrush set · Cap jig · and 7 more
Every item in this kit · 9 items
Blanks
- Trucker blank, natural cotton twill front$9
Stencils
- Pre-cut mylar stencil set for this design — 8 layers$18
Paint & masks
- Water-based textile airbrush colour, 2 oz — one per colour in this design$42
- Transparent base and reducer, 4 oz$7
- Low-tack masking film and ¼ in tape$8
- Matte fabric sealer, 4 oz$12
Equipment
- Starter airbrush set — 0.3 mm dual-action gravity brush, mini compressor, braided hose$129
- Cap jig — holds the crown taut while you spray$24
Guide
- Printed step-by-step guide for this designIncluded
Trucker · kit for 12 hats
$1,073
$89.42 a hat
Bought separately $1,220 · you save $147
Includes Dual-action gravity-feed airbrush · Quiet compressor with tank and moisture trap · Cap jig and two spare crown forms · Tabletop spray booth with exhaust fan · and 11 more
Every item in this kit · 15 items
Blanks
- Trucker blank, natural cotton twill front$78
Stencils
- Desktop stencil cutter, 12 in — the "stencil printer": cuts mylar from this design's layer files$299
- Stencil mylar, 7 mil, 12 × 12 in$22
- This design's layer files, every layer (SVG)Included
Paint & masks
- Water-based textile airbrush colour, 4 oz — one per colour in this design$98
- Transparent base and reducer, 16 oz$16
- Low-tack masking film$18
- Matte fabric sealer, 16 oz$28
Equipment
- Dual-action gravity-feed airbrush, 0.3 mm$135
- Quiet compressor with tank and moisture trap$179
- Cap jig and two spare crown forms$64
- Tabletop spray booth with exhaust fan$149
- Cleaning pot, brushes and a half-mask respirator$99
- Heat gun for curing$35
Guide
- Printed step-by-step guide for this designIncluded
Trucker · kit for 12 × 12 hats
$3,124
$21.69 a hat
Bought separately $3,676 · you save $552
Includes Two dual-action gravity-feed airbrushes · Production airbrush · Twin-piston compressor with tank and two regulators · Production spray booth · and 13 more
Every item in this kit · 17 items
Blanks
- Trucker blank, natural cotton twill front$756
Stencils
- Stencil cutter-plotter, 24 in — the production "stencil printer"$649
- Stencil mylar, 7 mil, 12 × 12 in$85
- This design's layer files, every layer (SVG)Included
Paint & masks
- Water-based textile airbrush colour, 32 oz — one per colour in this design$336
- Transparent base and reducer$49
- Low-tack masking film$54
- Matte fabric sealer$89
Equipment
- Two dual-action gravity-feed airbrushes, 0.3 mm$270
- Production airbrush, 0.5 mm, for base fades$95
- Twin-piston compressor with tank and two regulators$329
- Production spray booth, two fans$289
- Three cap jigs$192
- Cleaning station, respirator and spare cartridges$139
- Cap heat press for curing$279
- Drying rack, 24 caps$65
Guide
- Printed step-by-step guide for this designIncluded
The creator
Remixes
No remixes yet — make your own version.
Where this came from
trucker hat · made
0 — nothing entered the score yet, at the Derby's published weights, since . Views are not counted.
More adult caddis trucker hats
- caddis
- caddisfly
- adult caddis
- river stone
- streambed
- fly fishing
- trout stream
- insect
- olive
- tan
- umber
- trucker hat