geological dazzle painting / as in a certain small island

agate pattern

Author and exact source unknown, in Blackwood's Magazine, c1922—

[The appearance of a certain small island] is very remarkable. It consists of a rounded lump of hills, with three or four central conical peaks, seven hundred feet high. The lower parts, all completely barren, are striped. and patched, and barred with a geological "dazzle-painting" in ochre and red, brown, purple, and buff, while the surmounting cones, in strong contrast, are pure white. The whole effect is that of some monstrous pudding, standing on the blue-and-white plate of the sea, over whose apex has been poured (in pre-war days!) a large jug of thick cream.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

I Never Met a Morphosis I Didn't Like / Smoke Dreams

Two British comic drawings (c1890s)

As I was growing up, adults used to discourage boys from smoking by saying, "Don't smoke or you'll turn into a cigarette." I never quite knew what that meant. But it was an ancient admonition, of the sort that I grew up on. I confirmed that about ten years ago, when I ran across a Victorian-era cartoon (it's the bottom row in the image above) in which (left to right) a smoking Cub Scout turns into a cigarette. Aha! Exactly as anticipated.

More recently, maybe ten days ago, I ran across another (no doubt British) cartoon, as seen in the upper row, in which a man (not a boy it seems) also becomes a cigarette. It even had a title that read THE EVOLUTION OF A CIGARETTE. No doubt a poke at Charles Darwin.

To me, these are of additional interest because they are Darwin-era examples of comic metamorphosis, which is of considerable interest. I have sometimes tried to write about that subject, not very successfully, and as recently as earlier this year, I gave an online talk about it, titled I Never Met a Morphosis I Didn't Like, as seen in the title slide below.

One might also benefit from my video on varieties of creativity, which is free to view online.

a slide talk on metamorphosis / Roy R. Behrens c2025

Alon Bement's 1925 article on illusions & camouflage

This five-page article on ship camouflage has now been posted online and can be downloaded as a pdf. Its author, American artist Alon Bement, was an important teacher of Georgia O'Keeffe at Columbia University, who served as a civilian camoufleur during World War I. We have blogged about him in the past. Here is the link.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

Camouflaged Trench Digger in the War Zone / WWI

Above A World War I-era cover illustration for Scientific American by Howard Vachel Brown (1878-1945), titled "Camouflaged Trench Digger at Work in the War Zone." 

We've blogged about Howard V. Brown before, in part because he created an especially wonderful cover for Scientific American (March 1919) that shows a camouflage artist assessing the effectiveness of a ship model, painted in a dazzle camouflage scheme. Of additional interest is that Brown was a student of New York ship camouflage designer William Andrew Mackay, in the development of camouflage for the US Shipping Board, so he was well acquainted with testing devices like the one shown on that cover.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

a wooden superstructure, we dazzle-painted the sides

Unidentified WWI truck camouflage

Cecil Day Lewis [father of actor Daniel Day Lewis], The Otterbury Incident. London: Putnam's Sons, 1948—

Just then I heard the rumble of the enemy tank coming down Abbey Lane to our right. To be absolutely accurate, it wasn't a rumble, but a clattering, squeaking noise, made chiefly by the old tireless bicycle wheels on which the tank ran. It was a wizard job, that tank. We'd built it in the school workshop. The superstructure was made of wood, and we'd dazzle-painted the sides: there was a bit of camouflage netting, which Ted had got from his brother in the Airborne, over the top of it, and a broom handle sticking out through a hole in the front for a gun. It held three people easily: the driver, who pedaled it; the gunner; and the tank captain. With its high, box-like shape, it really was more like an armored car, but we called it a tank.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

cleverly hidden in cotton clouds / a cartoon camouflage

Back in 2019, we blogged about and reproduced the drawing from a wartime cartoon by British artist Bernard Hugh. Originally published in The Bystander, it was reprinted in Cartoons Magazine in 1917. It proposed an ingenious method of camouflaging an airplane while in flight: that it could be camouflaged by sandwiching it between large clumps of cloud-like cotton wool. Looks like a fine idea to me. Recently, I fed Hugh's cartoon drawing to an AI processor, and the image above is what it produced.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

dragon fly camouflage / from muck to flashing colors

Poster © Roy R. Behrens 2019

American Nature-Study Society, The Nature-Study Review. Lancaster PA, November 1918—

The submarine and camouflage have their counterpart in the insect world. Children exploring ponds and creeks for animals for their aquarium circus often find a mud colored monster with an almost uncanny extension jaw. This common dweller below the water is the larva of the dragon fly. When an adult, it earns the name of "Swiftest of winged creatures." Then it is bedecked with flashing sapphire, emerald or garnet. In its nursery in the mud, however, its dress is camouflaged and is the color of the muck in which it awaits its next meal. Children delight in watching it use its extension jaw, which it shoots out to seize unsuspecting prey.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

khaki-colored dash down the boulevard in Hollywood

Hollywood actor Wallace Reid

Anon, in Picture Magazine (March-July 1918)—

[Hollywood film star] Wallace Reid is busily engaged in studying the art of camouflage so he can paint his new khaki-colored speed demon in such a manner that he can dash down the boulevard without being seen by the ever-watchful eye of the speed cop.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

camouflage as a less hazardous wartime assignment

US wartime camouflage in France, 1918

It is no surprise to learn that, in both world wars, draft eligible men in the US were apprehensive about the hazards of serving. A good number of them, maybe most, made an effort to be assigned to service roles that were less hazardous than serving as infantry in the trenches. Others, who had worked in civilian life in specialized vocations, were well-advised to look for ways to serve in the military equivalent of those same vocations.

Understandably, in World War I, when the formation was announced of an American Camouflage Corps, and artists were encouraged to apply, applications flooded in. 

We thought about this recently when we ran across a reference in the preface (by Anne Wintermute Lane) to The Letters of Franklin K. Lane (1864-1921) (Boston: Houghton Mifflin 1922), who served in the US Government when Woodrow Wilson was in office. In the preface, the author recalls that an initial difficulty in editing Lane's correspondence was that it took weeks to find and set aside "just the requests for patronage, for commissions, passports, appointments as chaplains, promotions, demands from artists who desired to work on camouflage…[and so on]."

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

Nov shmoz ka pop / WWI spurious wacko camouflage

an inept attempt at camouflage / WWI

Gene Ahern (originator in 1921 of the Our Boarding House comic strip featuring Major Hoople), "Ain't Nature Wonderful: Camouflage Still Yet" in Fort Wayne Sentinel, August 14, 1918, p. 3—

About this camouflage music, we juggle the camouflage art on themselves so they would be in their seventh heaven, and have their victims turning flip flaps. A book agent could waft into your office camouflaged as a puff of cigar smoke, and could annoy you with special offers, beautiful bindings, subscriptions, etc., and the only way to get rid of him is to purchase a piece of his stock, because you can't get a toe hold on him to throw him out because he's camouflaged invisible.

Insurance posts could wear the same harness, so you're in for it, fellow citizens, and the only exit for you is to take a try at the camouflage trick yourself.

F'rinstance: Have a 6x3 ebony box in your office and when an ill wind shows up, camouflage yourself like you just expired and fall into the silver-handled box and have on your fizz a camouflaged doesn't-he-look-natural expression.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

the camouflage craze / a book on camou mania now

Camou Mania

CAMOU MANIA A stunningly designed, richly illustrated book on inventive applications of camouflage in fashion and other aspects of popular culture. Includes a section that I myself was asked to write. See online details here.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

popular fallacy about football / aka pigskin camouflage

image source

Lawrence M. Guyer, Football Camouflage, in Boys' Life (November 1929), p. 16—

"Now, gentlemen," he continued, "I have only a few more words in conclusion of this lecture. I wish to speak for a moment regarding the popular fallacy connected with camouflage. There is a widespread belief that camouflage means to conceal, to hide, to absolutely remove an object from the enemy's view. That, of course, is not at all true. Camouflage means rather to disguise the object in such a way that the enemy is misled. Deception is the end thus to be attained."

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

turnip poses as onion / Buck Henry's mother's mimicry

film lobby poster (1928)

Motion Picture Magazine, March-July 1918—

[As leading-lady in Jack Spurlock—Prodigal, Hollywood actress Ruth Taylor (1905-1984), star of the original version of Gentleman Prefer Blondes, and mother of comedian Buck Henry] had to eat an onion in one of the scenes, and she begged Director Carl Harbaugh to camouflage a turnip instead. But a "retake" was necessary, and as there had been only one turnip provided, she was obliged to eat an onion. She canceled a dinner engagement for the evening. Now they have a supply of camouflage onions at the Fox studio.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

Sir Walter Raleigh makes use of smoke as camouflage

W. Allen Howells, Raleigh Blowing Smoke

Philip Leslie Hale, in his column titled As the World Wags in The Boston Herald on January 24, 1918—

In the definition of "camouflage" the standard French dictionaries are of little or no use. Littre gives "camouflet," the noun, meaning “a thick smoke that one blows maliciously into the nose of one with a lighted paper cone." To give a "camouflet" is to affront, mortify a person. "Camouflet" is also a mining term. This French word is an old one. It is defined in Cotgrave’s dictionary (1678) as "a snuft or cold pie, a smoakie paper held under the nose of a slug or sleeper." Now, a cold pie in old colloquial English meant an application of cold water to wake a sleeper. “To give cold pig" was another form, and it is still used. In dialect a "cold pie” is an accident to a train or carriage in a pit, a fall on the ice, a disappointment of any kind.

In more modern French-English dictionaries, a camouflet is a whift of smoke in the face; a stifler; an affront, rap over the knuckles, snub.

•••

Adrian Margaux, If Our Caricaturists Had Flourished Before: Some of the Drawings They May Have Made, in the Strand Magazine, November 1918, pp. 365-366—

W. Allen Howells, British illustrator. when asked to choose a subject for a comic portrait—"…I should like to [illustrate] Sir Walter Raleigh, as I have an idea he was one of the pioneers of camouflage in this country. A French slang dictionary tells me that the word means blowing smoke through a paper cone into another person's face as an insult, and I can imagine Sir Walter making use of the device between his draws of tobacco smoke."

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

camouflage, patriotism and propaganda / a big parade

It was Oscar Wilde who said: "All bad poetry springs from genuine feeling." And surely one might also surmise that some of the world's most godawful music springs from patriotism. 

Shown here is the sheet music cover (as well as the record label) for My Dream of the Big Parade, a rousing composition from World War I. The cover is signed by a WWI-era British artist named Starmer, probably Walter P. Starmer (1877-1961). 

He was not a camouflage artist, but in the top left background of the illustration you can see that he has included a dazzle-painted British ship, not unlike the RMS Olympia. 

Starmer was British, but a note at the bottom left of the sheet music cover says "Made in USA", and the music was created by Jimmy McHugh (1894-1969), a prolific American composer who devised such famous songs as I Can't Give You Anything But Love, Baby, and On the Sunny Side of the Street.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

countershading and disruption in artillery camouflage

The three photographs in this blog post were originally published in black and white in Scientific American during World War I. 

As posted here, they have been restored and AI colorized. They are excellent examples of attempts to camouflage artillery by applying countershading (as proposed by American artist Abbott H. Thayer) and by breaking up the cannon's shape by applying high contrast disruptive patterns, such as stripes. 

It is interesting to look at these in comparison to a series of five hand-drawn illustrations (as shown below) by WWII British army camoufleur and eminent zoologist, Hugh B. Cott, in Adaptive Coloration in Animals, which we have blogged about before.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

striped and splashed and dotted with disruptive colors

unidentified WWI dazzle-painted ship (AI color), c1918

John Dos Passos, Manhattan Transfer. NYC: Harper and Brothers, 1925, pp. 280-281—

The snub nosed transport sludges slowly through the Narrows in the rain. Sergeant-Major O'Keefe and Private First Class Dutch Robertson stand in the lee of the deckhouse looking at the liners at anchor in quarantine and the low wharf cluttered shores.

"Look some of em still got their warpaint—Shippin Board boats.... Not worth the powder to blow em up."

"The hell they aint," said Joey O'Keefe vaguely. "Gosh little old New York's goin to look good to me.…"

"Me too Sarge, rain or shine I dont care."

They are passing close to a mass of steamers anchored in a block, some of them listing to one side or the other, lanky ships with short funnels, stumpy ships with tall funnels red with rust, some of them striped and splashed and dotted with putty color and blue and green of camouflage paint…

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus

seasonal animal tracks / fox and vixen flirt and play

Above Book jacket for Judith Krantz, Dazzle. NY: Crown, 1990.

•••

Sy Montgomery, Seasons of the Wild: A Year of Nature's Magic and Mysteries. Buffalo NY: Firefly Books, 1995, p. 74—

In January and February’s snows, fox tracks tell stories more vivid than any other North American mammal’s. To the novice tracker, following a coyote is as daunting as reading a Proustian tome. But this time of year, fox tracks are the Judith Krantz novels of animal tracking: in them you’ll find fast-paced, easy-to-read love stories. In these winter months, fox and vixen flirt and play, cementing and renewing pair-bonds that usually last as long as both survive.

RELATED LINKS 

Dazzle Camouflage: What is it and how did it work? /  Nature, Art, and Camouflage / Art, Women's Rights, and Camouflage /  Embedded Figures, Art, and Camouflage / Art, Gestalt, and Camouflage /  Optical science meets visual art /  Disruption versus dazzle / Chicanery and conspicuousness /  Under the big top at Sims' circus