Wednesday, August 6, 2025

Barnum's camouflage / the cherry-colored cat flimflam

Above At our house we live with a totally black cat named Jinks (short for Hijinks surely). But I recall from childhood an earlier black cat that I was inevitably attracted to during shopping trips downtown, in the Midwestern town where I grew up. Here it is: Lucian Bernhard’s famous logo for Cat’s Paw rubber heels.

•••

A CHERRY-COLORED CAT: Great Showman’s Little Joke in World’s News (Sydney AU) February 8, 1919, p. 2—

Professor William Lyon Phelps of Yale University, in newly-published reminiscences of the one and only P. T. Barnum, declares that it was the great showman to whom Robert Browning referred in "Mr. Sludge, the Medium," and, incidentally.disclosed a delicious and little-known bit of highly-successful Barnum “camouflage.”

It was while Professor Phelps was a small boy, In New Haven CT, that Barnum advertised as a special sideshow attraction, "A Cherry-Colored Cat!”

Naturally, an enormous crowd trickled in to see the curiosity, and all they saw was a common black house cat. Disappointment, indignation, and chagrin. "We've been humbugged!" was the prevailing sentiment expressed In the equivalent of "stung again."

Then somebody, who was quicker to catch the point, infected the crowd with the philosophy of good humor. "Why, don't you know, certain kinds of cherries are black? This is a sure-enough cherry-colored cat, and everybody ought to see it.”

The victims caught the idea, grinned with delight, winked, and went out, and urged everybody they knew to be sure not to miss the wonderful sight of the cherry-colored cat, with the inevitable result that practically everybody got stung." The cat, which belonged to a local woman, had mysteriously disappeared two days before the circus reached the town, but reappeared the day following the circus' departure, adorned with a ribbon and a card expressing Mr. Barnum's appreciation of the involuntary loan.

Monday, August 4, 2025

Greenwich Village artists object to phony residents

Greenwich Village Follies / program cover 1921
ARTISTS WANT GREENWICH VILLAGE PURGED OF ALL BOOTLEGGING CAMOUFLAGE in Fitchburg Sentinel (Fitchburg MA, September 19, 1922, p. 7—

New York. Sept 19—The high cost of studio apartments In New York City Is partly explained, at least in the declaration of the rent committee of the League of American Artists, that such quarters are much sought for by bootleggers. The artists In complaining to the district attorney's office asked police Investigation with the view to raising the moral average of Greenwich Village and the Columbus Circle art neighborhood.

"The studio is well adapted to camouflage," Stewart Browne, president of the United Real Estate Owners' association, said "but it is too late for New Yorkers to get excited over that. Real estate owners cannot control it entirely. "

Artists have demanded that the police rid their colonies of painters who can’t paint, sculptors who can't sculpt, and models who can't pose.

RELATED LINKS

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

boot leggings used literally in camouflaging bootleg

boot leg (1922)
BOOTLEGGERS CAMOUFLAGE TALK NO MORE in El Paso Herald (El Paso TX), August 12, 1922, p. 35—

It used to be that the bootleggers camouflaged their sales talks over the telephone.

They would inquire if the customer would like some fresh Scotch Salad, rye bread or Bourbon apples. Of late, they are growIng careless.

They speak rIght out and call a spade a spade—whiskey is whiskey and gin is gin.

The nerviest bootlegger, however, is one who called up a business man the other day and said he wanted to show a sample.

He carried the bottle, a portable little stand, a carafe of cracked ice and a glass, in a brief case.

And he presented his card, telephone number and address—with the price list printed plainly on the back.  

RELATED LINKS

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

camouflaging moonshine color to resemble bourbon

old bottle found at Gettysburg
CAMOUFLAGE ARTIST RUNS AFOUL DRY LAW in The Courier-Jounal (Louisville KY), February 15, 1922, p. 2—

Lexington KY—Sam Wilcox is an artist, the officers say, but his talent had gotten him into a peck of trouble.

Wilson’s art has been directed into “illegal” channels, according to the warrant issued by prohibition agents, who arrested him at his home at Corinth KY.

Some of his work will be exhibited to the Federal Commission at his examing trial February 20.

He is accused of having offered his services and a preparation for coloring moonshine whiskey to look like old Bourbon.

RELATED LINKS

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

 

online site links

Saturday, August 2, 2025

WWII camoufleur as much use as fridge at North Pole

Above WWI camouflaged-painted tank-like vehicle with rotating turret gun.

•••

Hugh B. Cott, “Camouflage” in The Advancement of Science. Vol 4 No 16, January 1948, pp 308-309—

[At the beginning of World War II] the possible methods, scope and usefulness of camouflage were by no means generally appreciated. Perhaps you will allow me to give a single example. When early in 1941 I took up my first service appointment, the Brigadier to whom I reported for duty welcomed me with these words—he said: “A camouflage officer is as much use to me as a refrigerator at the North Pole.” It happened that we were no where near the North Pole, but in tropical Africa, where a refrigerator would have been a very useful piece of equipment. However, I was not unduly discouraged by this somewhat chilly reception.

RELATED LINKS

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

Sale-priced books on camouflage / free shipping

full-sized battleground dummies of browsing cows

Above News photograph from the New York Times on September 23, 1917, the year that the US entered the war. The caption reads: “A Pastoral Scene Through Which Runs an Important Railway Link Between the French Firing Line and a Base of Supplies. Only the Browsing Cow Happens to be Papier-Maché.” 

In earlier posts, we have featured comparable photographs of full-sized dummies of browsing cows (made of papier-maché), horse carcasses made of plaster, or human figures for the purpose of deceiving enemy observers.


Thursday, July 31, 2025

disruption in nature / camouflage and the bobolink

Above Bobolink illustration, John Gerrard Keulemans (1876) 

•••

Anon, Our Dumb Animals: Magazine of the Massachusetts Society for the Prevention of Cruelty to Animals (Boston), December 1942—

Then with the apple-blossoms, came the bobolinks making the meadows round us ripple with song. "Here we are," they seemed to announce over and over again, "here we are, here we are!” One pair liked us so well, they settled right down on our hill-top for the entire season, the male sitting close to the tower and in half-hour stretches on the telephone-wire perch, made our watch merry with his jubilant cadences. Somewhere beneath him in the weeds by the side of the fence, I knew his nest was hidden; but such an excellent camouflager is the bobolink that I never found it, though I often saw the female rise up seemingly from a certain spot. 

RELATED LINKS

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

Tuesday, July 29, 2025

Maurice G. Debonnet on the use of paint in wartime

Maurice G. Debonnet, ship camouflage sketches (1918)
Maurice G. Debonnet, “Camouflage and the Art of Using Paint in Warfare” (with illustrations by the author) in the Painters Magazine and Paint and Wallpaper Dealer. April 1918, pp. 180-182.

Confusingly, we’ve also found a reference to what may be the same article (or is it a different, subsequent article?) but with the title “Marine Paint Camouflage,” which was apparently published in the June 1919 issue of the same magazine, which we haven’t yet found.

That other reference is in the June 1919 issue of Oil, Paint and Drug Reporter. It describes that second article as “the most instructive and iluminating article on this important branch of the service in the late war that ever has been written. In it the author reveals for the first time the methods used, the various types of camouflage, the reasons for their use, illustrating it with his own drawings and with photographs of many of the boats on which camouflage was used. It shows how the wild dreams of the cubists became realities working for the cause of democracy the world over.”

In the first article (April 1918), Debonnet’s drawings are reproduced (as shown above), but there are no photographs of camouflaged ships. To make things even more confusing, there is another notice in the August 11, 1919 issue of Oil, Paint and Drug Reporter (p. 51), which again makes note of Debonnet’s article, but in a much shortened form and without any references to photographs of camouflaged ships.

Maurice G[eorges] Debonnet was a French-born American painter, printmaker, and interior designer. He was born in Paris in 1871. He immigrated to the US at age 20, arriving in Boston in 1892, then soon after settled in New York. Over the years, it appears that he resided in Bayside, Queens, Manhattan, and the Bronx. His wife was Marie (Hebding) Debonnet. He was associated with the Society of Independent Artists, the Salmagundi Club, the Brooklyn Society of Modern Artists, and other groups. He died in 1946.

•••

Camouflage a Child of Paris

…The confusing and baffling name, camouflage, that has been recently adopted in our language, is by no means a newly-coined word. Camouflage is a word derived from the French language, It has been said to be a child of Paris' underworld, and there may be some truth In that, as camoufe in slang means candle, while the old French word camoufet, also meaning candle, are the roots of the word camouflage.

Perhaps dark deeds were hidden by the smoke of the old-fashioned tallow candles. The word has been in use for a long time by French actors and means to make up. In the Belgian language Flemish) the word kafouma, meaning with smoke, has long been in use, but whatever may be its origin—camouflage—(was Eve the first one to practice it?) undoubtedly means to disguise, conceal, to bluff, to make something look like nothing. It means here specifically the art of fooling the enemy's eye. Camouflage (kam-oo-flah-zhe) is practiced by the camoufleur or brush fooler.

The American khaki, color of earth, dust and leaves, the German, field gray, the French, horizon blue, and previously the coloring of the body of the American Indian, and even the blueish gray peculiar to the atmospheric coloring of the South, was reproduced in the Confederate uniforms.

One of the first extensive modern applications of camouflage was made by General Smuts, in the Boer War, when all the paraphernalia was painted with colors that harmonized well with their surroundings. In Italy the mountain troops, fighting in the snow, paint themselves white in the daytime, black at night. and follow the seasons with daubs of yellow, blue, red and golden tints, as may be necessary to reproduce the color effects of nature acting as background.

Based on Animal Coloration


The use of paint in camouflage ta primarily based on the laws underlying the protective coloration of animals first mentioned by Poulton (1856) and the Thayers (1896-1902-1909) who said "that protective or disguised coloration falls into two main divisions—the one including concealing colors, mainly based on counter shading, the other including mimicry. The goal of the former principle is the rendering of animals invisible in their natural haunts. Mimicry aims at deceptive visibility.

The need of markings is a concomitant of the principle of "obliterative shading," as when an unmarked solid object has been reduced to a perfectly fat monochrome by counter shading— so that it lacks all attributes of solidity—it may be quite undistinguishable, provided that its background is of a similar monochromic flat tint.

In 'pattern perspective,' It will show that not an exact reproduction of the actual background, but a picture of that pattern as it looks when more or less altered and refined by distance, is essential to the concealing of an object, or, in other words, that the object's obliteratively shaded surface must bear a picture of such background as would be seen through it if it were transparent."

The subject of nautical camouflage is Interesting. In 1902 a patent was issued to two Americans, A.H. [Abbott Handerson] Thayer and Jerome [Gerome] Brush. The specifications mentions that the reason any object is easily seen, no matter what color it is painted, is because when near enough to be distingulshed its various surfaces reflect, respectively, different amounts of light: the upward surfaces being the lightest, the vertical surfaces less light, the surfaces facing downward less and the deep shadows still less. When far away, so that its various surfaces blend into one, a ship may be visible. owing to the contrast of the whole object with the surrounding sky and water. A white ship may be seen against so bright a sky as to look almost like a black one. Therefore it makes little difference what color a ship is painted, if it be painted only one color, as either the whole ship will silhouette against the sky beyond or its different parts will present a strong contrast of light and shade. In short the process means painting normally light surfaces dark, darkened surfaces light and coloring the shaded portions with paint that would neutralize and blur the definition of the ship.

Angles Are Effaced

One of the theories—perhaps the best one in the merging of the hull and upper work with the sea and sky is that the color scheme is so applied that with distance it resolves itself into gray and that with the aid of other splotches of paint all angles are effaced, and painting the different areas of the ship so that only one will show its true color at a distance.

For instance, a section near the stern may be painted with large irregular spots of dark green, purple and red, while on a section next to it is painted smaller spots and lighter tones of the same color. Still further forward another area is covered with still smaller spots, so that as each area comes to its proper distance from the eye, it will become gray and of low visibility, while the larger spots will be glaring.

Let us see how the general principles of paint camouflage were and are applied: At the battle of Somme a road was covered by the French camoufleur with three kilometers (9,840 feet) of canvas painted to imitate grass, rocks, etc., so as to allow the troops, guns, etc., to pass under, and for three days they were undetected by the enemy planes.

Forts in Deceptive Garments

Forts and their surroundings are so painted that they may look one day like a vast expanse of green grass and the next day be transformed to well laid tennis courts or summer cottages. A whole village street, with its old-fashioned houses and thatch roofs, were painted on canvas and with the help of netting dipped in paint, guns, batteries and moving troops were constantly surging to a given point. "Foiled again!" said the Hun.

The moving pictures of the British tanks in action, shown recently in this country, well exemplify the meaning of camouflage. The crawling land ships are covered with streaks and patches of varicolored paint, so arranged as to appear part of the ground if viewed at a distance.

Escort wagons, caissons, tractors, moving war supply trains, locomotives and depots, are so treated that almost under any atmospheric conditions and whether in woods or open country, the deceptive art is found to be useful to a great degree.

Guns of large and small caliber are disguised to break up their well known contours. Usually they are painted black on top and white underneath, so that they cease to look round, a few strokes of brown and green are thrown in for good measure and presto! The futurist composition, blends so well with the landscape that only occasional flashes of fire remain as tell tales.

Men on outpost duty, including wagon drivers, troops in march disguised with painted canvas or burlap; battery observation posts and observers are sometimes painted three times a day, and to see soldiers painting piles of steel helmets gray and khaki colors is no uncommon sight. Field observer's clothes are decorated with stripes of various shades of brown and green and patches of yellow, so that they become part of trees when up in them for observations.

Dobbin Also Camouflaged

In 1914 the Russian Cossacks painted their white and gray horses green to make them harmonize with the foliage, in order that their movements could not be seen by scouting airplanes.

The French, In 1915, rendered horses as nearly invisible as possible on the field of battle by staining them a khaki color and later a horizon blue. Can the reader imagine being awakened with a very dark taste in his mouth and seeing yellow, pink and green horses? Dummy horses and wounded soldiers used for concealing observers and the horse of Troy are known facts, but not amiss here perhaps is the story of the Anzacs serving In France in 1916 who found that near their sector at [censored], a white horse which seemed to set as a signal to the enemy. Where he was drawing a plow one day shells fell the next day. They went out at night and painted the horse brown.

Naturally signs and lettering of all kinds are necessary from the stenciling of numbers on shells to the marking of cannons, etc., with animals or other figures to replace the numerals formerly used. This bit of deceit keeps from the enemy any information regarding the number of the object or the number of the regiment to which it belongs.

Submarines come in also for their bit of decoration. In a well-remembered memoranda sent to the United States by Germany in February 1917, it was said that "regular American passenger boats might ply their trades, if such steamers where painted in a peculiar way." In 1907 the Hague Convention approved Article 5, which provides that hospital ships "shall be distinguished by being painted white outside with a horizontal band of green about a meter and a half in breadth" so that they will not be fired upon. This practice was abandoned on the ground that it was simply pointing out targets to the German gunners! 

Is a Necessary Precaution

Before 1898 our warships were painted white and war gray during the Spanish war. Previous to the German submarine atrocities our merchantmen took to camouflaging, which became obligatory with the Treasury Department's decree (1917) that "every ship leaving this port should be camoulaged or Insurance rates increased accordingly. The cost of camouflaging merchantmen is about $200. When the giant German submarine Deutschland sailed from Baltimore in 1916, she was painted so as to resemble the colors of the sea as nearly as possible: the upper portion of the vessel's sides which protruded from the water, when the ship travels on the surface, wore decorated to resemble sea waves. The bluish green color of the waves were capped with white to simulate foam.

The well-remembered sinking of the United States four-master Lyman M. Law by an Austrian submarine, near the coast of Sardinia (February 1917), recalls the fact that the submarine was painted ash color with black deck.

Periscopes have been painted with parallel stripes in various colors of the spectrum, so that when the colors are refracted they are converted into a white ray, making it very difficult for the enemy to see the periscope. In 1917 the German undersea craft coated some of their periscopes with aluminum so as to make them less visible.

Article by Debonnet (1918)
Melts Into the Horizon

In a series of experiments a ship was so successfully painted that at three miles it seemed to melt in the horizon. In the case of large steamships no accurate range could be made for shelling at three to five miles—the usual shelling distance while at eight miles the ship disappeared into nothing.

Of the many painting systems in use, a glance at the following will show the more promising: Brush—Black and wiite only.
Herzog—Curved color line.
Toch—Wavy lines with blurred edges.
Mackay—Three color combination.
Warner—Pale violet and green.

During the first two years of the war color was not thought to be necessary; black and white or two shades of gray were used, although the late T. T. Jane, the well known naval expert had the decks, etc., of a torpedo boat painted a mottled black, white and gray to imitate nature's camouflage of sea birds. with their markings of black, white and gray. It was a success as seen from shore, but when viewed in fall light against the sky, it became a dark spot.

But, no matter how painted to attain low visibility, be it so well done that to the laymen it looks like decorations from the Mogul Emperor's palace at Delhi, or bunches of green flowers with pink popcorn couchant, cubist's blue and green dreams or again futurist's fancies with purple bodies and black limbs—the color schemes used do not conceal the ships, but if the color areas are large and the contrasts strong in value, they make it harder accurately to point a gun, but nevertheless a vessel so treated, when standing with the sun behind, appears as a large mass of very dark color.

Painters Are "On the Job"

 In conclusion it may be said that if any one with knowledge of paint and its application is looking for special entertainment in the way of fooling the enemy, the Camouflage Corps will receive him with open arms.

The last word has not yet been told because every day paint will have something new to say, and from the reports of progress so far made, one may rest assured that the painters, having shown their patriotism in one way of another, are right on the job helping with all their might and skill to make "the world safe for democracy." 

RELATED LINKS

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

Sunday, July 27, 2025

painted all over in wavy bands, like some masquerade

unknown WWI ship camouflage (c1918)
Albert A. Nothrop [diary of], “Home Via the Canal” in STONE AND WEBSTER JOURNAL (Boston) August 1919, p. 128—

July 12, 1918: The bay is full of ships, and for the first time we see camouflage. Many ships are painted all over with broad, wavy bands, some white, some gray, some black, and look as if they were some masquerade party instead of on the serious life and death work of running the submarine blockage to help keep the Allies supplied.

RELATED LINKS

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

online link

Saturday, July 26, 2025

Georgia O'Keeffe / Her Teacher Was a Camoufleur

Ship Camoufleur Alon Bement
Above We have posted at various times about American artist Alon Bement (1876-1954). He taught art education at Columbia University, where, according to the painter Georgia O'Keeffe, he had an important influence on her when she was his student. 

During World War I, Bement was a civilian camoufleur for the US Shipping Board, in the course of which he worked with William Andrew Mackay in New York. He wrote at least four magazine and news articles on ship camouflage, in which he also talked about how camouflage could be useful in everyday life (in painting ones house, for example, or in choosing fashionable clothing to wear). 

Only recently have we found yet another article—not written by him—in which he was interviewed about people’s hands, in which he asserted that hands “reveal ones personality as clearly as does the face.” 

The article was published in The New York Sun, September 21, 1919, p. 10. It includes a portrait photograph (shown above) of Bement. At first glance, it appears that he might be holding a model of a camouflaged ship, but a closer look reveals that he is instead holding an artist’s palette.

•••

From LETTERS FROM READERS OF THE NEWS in Des Moines News (Des Moines IA), September, page 4—

CAMOUFLAGE AGAIN—Now, patrons, this camouflaging isn't such a new. It's been cavorting around these quarters for some time, but it's never been labeled. The butcher puts his wrists on the scale with the round steak, and the camouflaged wrists toll up also as round steak.

The grocer camouflages the berries to look like a healthy boxful by putting the big boys on top and it looks like a quart box but it’s been camouflaged; the bottom has been given a lift. The summer time is harvest time for camouflage salve among the vacation Wilburs and Tessies—y'know, around the beaches, etc.

A Wilbur hung up in noisy togs camouflages himself to some Tessie as a regular devil millionaire’s son, and she vise worser, and, when the twin weeks are went neither one lets loose on the camouflage. He hikes back to reading gas meters and she hikes back to the glove stall.

•••

RELATED LINKS

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

 

William Andrew Mackay

Monday, July 21, 2025

faint traces of magic paint / grim yet also picturesque

camouflaged WWI truck, damaged
IT’S AS CHILLY IN GERMANY AS IT IS ANYWHERE ELSE THESE DAYS in Stars and Stripes, January 31, 1919, p. 8—

There is a certain grim picturesqueness about camouflage these days. When a truck appears in the streets of Coblenz [Koblenz] still bearing upon it traces of the magic paint of other days, it focuses the German eye almost as quickly as does an American band or a column of rubber-booted doughboys. It seems such a relic of the past—a stately Spanish carnival among modern battleships, a golden piece of eight among a lot of silver American half dollars.

link
RELATED LINKS

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

Sunday, July 20, 2025

dazzle undone / dirty, storm tossed, wretched looking

removing dazzle camouflage
Above New York Times, April 13, 1919, with the caption “Uncle Sam must now de-camouflage his picturesque ships. These ‘steeple’ jackies are busy removing the cubist designs which embellished the funnels of this deadnought.”

•••

Barry Dock News (Barry, Wales), December 13, 1918—

Signs of peace are becoming more evident every day. The steamer Island Laird, lying at Barry Docks, is the first ship in Barry to have the old funnel colors, which were obliterated during the war, repainted. The camouflage is being done away with on many ships.

•••

Anne Laurie, WAR CAMOUFLAGE LIFTED FROM NATIONS, AMERICAN SOLDIERS YEARS FOR HOME in San Francisco Examiner, February 24, 1919—

When I came up Long Island Sound on the French liner L’Espagne from Bordeaux, I saw them painting out the camouflage lines from the hulk of a great ship. The ship looked incredibly dirty and storm tossed and wretched to a degree, but you could see the real shape of it—at least.

Over at the Peace Conference in Paris they are beginning to paint out some of the camouflage lines on the ships of the various nations, and perhaps some of us do not quite admire the general aspect of some of the national ships, just now, as much as we should like to.

But isn’t it just about time for America, as well as Europe, to begin to get rid of some of the strange camouflage of these strange days and look at a few things in Europe and here at home, not as we want to think they are, or not as we thought they were going to be, but as they actually are?

RELATED LINKS

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

link

 

Saturday, July 19, 2025

paint streaks on family to practice camouflage at home

Above Coles Phillips, illustration titled “Thoroughbreds” from A Gallery of Girls (New York: Century Company, 1911).

•••

CAMOUFLAGE AND HOW TO PRACTICE IT IN PRIVATE LIFE with sketches by Harry Raleigh, in Vanity Fair, 1917—

Camouflage is now the military and artistic rage. All the French and German painters and illustrators are going in for it, not only in the war zone but at home. The art of camouflage is also practiced in America. It consists in so painting objects that they will exactly duplicate the background against which they are to appear. The net result is that the objects so painted become invisible. Guns, bridges, forts, soldiers, helmets, have only to be cleverly colored, striped, streaked, or spotted, in order to vanish completely from view. Try it in your family; streak any member of it—your wife, let us say—like a zebra and see how quickly she will disappear from view when placed before a thicket, a pile of underbrush, an art nouveau screen, an Elsie de Wolfe sofa, or a Navajo blanket.

RELATED LINKS

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

Friday, July 18, 2025

more on camoufleur Carol M. Sax from Ottumwa Iowa

Carol M. Sax / passport photograph (AI colorized)
In earlier blog posts, we've shared quite a lot about Iowa-born theatrical designer and ship camoufleur Carol M. Sax, originally from Ottumwa. Below is a full article about him from 1917, with additional mention of Boston-area artist Clara Lathrop Strong. An essay on Sax's life and his involvement in camouflage is included in the book, DREAMS OF FIELDS: Memory Traces of Iowa's Past (August 2025).

•••

Katherine McKinsey, MARYLAND INSTITUTE CAMOUFLEURS: They Are Working With Carol M. Sax In The Hope Of Becoming An Integral Part Of The Nation's Military Establishment And Already Have Been Recognized By The Government, in Baltimore Sun, December 16, 1917—

Camouflage? What is this camouflage, anyway? You may have noticed the word—nay, you must have noticed it! It pops out at you as regularly and much more often than the brute who endeavors monthly to collect a large rent for your very small apartment. There is no escaping it. It is as popular as hot fudge sundaes!

Unless you have introduced it into your vocabulary and can work it as easily as any other good American word like "ain't" and "Ish'dworry" you are, so far as the chatter of the day is concerned, practically speechless. It appears in newspaper print quite as frequently as "over there," which is saying much.

An expert who comes into closeup contact with all terms, decadent and otherwise, flung about by fertile fancied writers, says the public is fairly "wised up" on the word camouflage. It is his candid opinion that you can run up to Elkton, drop into the corner grocery store and get from the grocer's clerk's youthful assistant a fairly intelligent definition of the word.

Camouflage? Why, Sure
A New Yorker who dropped into the Army Information Bureau in his city didn't find anyone there in doubt as to its meaning. The moment it was mentioned a dozen khaki clad figures stopped whatever they were doing and stood ready to volunteer for the duty of explaining. Camouflage is just as plain to them as the noses on their comrades' faces.

Jane Dixon in the New York Sun reports the great experience of the adventurous New Yorker as follows:

"'See that water cooler there?' indicated the Sammie who reached the front trench of information a trifle in advance of the others.

"The water cooler was conceded.

"'Well, if I took that water cooler and painted it gray to match the wall so the slackers who come in here just to hang around and get an earful wouldn't see it and drink up all our ice- water, that would be camouflage.'"

So you see: Camouflage is rigging up things to fool persons—particularly and especially enemy persons in war time. The word began in French music-hall slang before there was a war or any thought of war and it meant "faking"—which it still means, but with more serious import now.

The curious New Yorker's pursuit of knowledge on the subject of camouflage led him to the British recruiting offices where he was received by Sergeant Major MacKenzie. To quote again from Jane Dixon's report of the pursuit:

"'Camouflage?' he smiled from high altitude (he measures something over six feet four unshod). Indeed, yes. It is most important. We have been employing it regularly and with great success.

"'For instance,' prompting.

"The last time I remember seeing a flagrant example of the worth of camouflage was in the battle of the Somme. The artillery fire was terrific. We kept pumping in the shells and as we pumped we advanced.

"'We were in what is called the chalk country. There is a thin layer of topsoil and under it a chalk formation. The recoil of the big guns stripped the topsoil off, leaving the chalk exposed. The chalk, of course, is white. To prevent the enemy from sighting the guns against this white background daubed them white. It was difficult for airplanes to detect them and give the range.'

"'Sounds reasonable,' this by way of encouragement.

How It Works
"This daubing of guns, trucks, ambulances, supply trains, tanks and the like is general along the front. A variety of colors are used to give the bulk a conglomerate appearance and defy detection.

"'Gun positions are concealed by boughs stripped from trees and made to look like a clump of underbrush. A hedgerow, common in that country, will often be a mushroom growth built up to last a few hours and conceal an advanced trench.'

"What is the most effective bit of camouflage you have ever seen?' was asked.

"'A difficult question, I should say. You see in our ranks each man works his own camouflage. The ingenuity of individuals, companies and whole regiments in inventing ways and means to deceive the enemy is a marvel of human wit.

"'Probably the best example of it I have seen was a little cottage nestled down among fruit trees somewhere in France. It was a peaceful cot, with chickens and a pigsty and a cow and a dog lying on the stoop in the sụn.

"The enemy advanced within range. Suddenly one end of the peaceful little cottage opened up and a very unromantic nine-two poked its nose out. My word, how she did bite!'

"'The identity of the nine-two is not entirely clear, but from the tone used in referring to her she is adjudged a highly explosive shell shooting machine with steel jaws and a sweet tooth for Huns."

So this is camouflage! Since it has a French name no doubt the French were first to employ it. Then the British took it up and we Americans are to apply to the uses of camouflage our thought and skill and make it a thing of more value than has as yet been dreamed of.

The United States Army now numbers among its many branches one Camouflage Company which is in training at camp at the American University, near Washington. Its personnel includes artists, sculptors, architects, engineers, chemists. stage directors, theatre and circus mechanics, photographers, moving-picture scene makers, metal workers, etc. They are all enlisted or commissioned members of the army.

Maryland Institute Has Class
But not only in the properly enlisted and commissioned ranks of the Camouflage Corps is there training in the use of disguises and protective coloring. In Baltimore, at the Maryland Institute, there is a hard-working class of camouflage students preparing for a time when their services may be needed.

One of the plaster casting rooms in the basement is being used as a studio by the class and if you visit this studio it is best to enter warily since it is not pleasant to bump one's nose upon a camouflaged hunk of clay.

The work here is necessarily of a very limited nature since camouflage involves engineering, mechanics, construction (which includes building with wood and masonry, and the finer points of trench digging and the making of wire entanglements); and, in addition to the purely artistic branches of the work, the members of the Camouflage Corps are trained in all military branches in order that they may be self-protecting and thus a help rather than a burden to the army corps with which they are detailed.

But that such a class as that being conducted at the Maryland Institute may be of recognized value is indicated by a letter from Major General W. M. Black, Chief of Engineers, United States Army, under whose command is the Corps of Engineers known as the Camouflage Corps, which is commanded by Captain Aymar Embury, USR. The letter is addressed to Mr. Carol M. Sax, instructor of the School of Design of the Maryland Institute and instigator and volunteer instructor of the camouflage class. It reads as follows:

Letter To Mr. Sax
"In reply to your inquiries as to the probable utility of experimental work in camouflage conducted independently by the Maryland Institute of Fine Arts, I beg to inform you as follows: We believe that an organization trained as you have suggested will be extremely useful. First, because of the probability that new ideas might be developed by such an organization; second, because a continuous organization of this kind will be of value to the Department in insuring the preservation of all schemes which have been tried and thought out; third, because there may very likely be a call for civilians to prepare articles to be shipped abroad so that they may be concealed as readily as possible.

"As to the co-operation of this department with you—your organization will have to be entirely voluntary as we have no authority to assist such an organization financially. A competent officer or non-commissioned officer could be detailed to criticize and instruct or advise your classes, should its size and interest warrant this course. It will be advisable to have this course conducted near the American University Camp, Washington, DC, where camouflage experiments under the Regular Army are being made, if possible. If not they may be forwarded to some convenient spot near Baltimore.

"Mrs. S. L. Strong, of Marshfield Hills, MA, is desirous of forming such a class and writes that she has a very considerable number of persons who are ineligible for military service and who desire to attend such a class. I would suggest that you take the matter up with her and see if the two classes cannot be combined. Our experience is that interchange of ideas between groups of persons results in more fertility of invention than when it is confined to a few people."

A later letter from Major General Black stated that a scarcity of "competent officers or non-commissioned officers" which had become evident precluded the possibility of sending such an officer to the Maryland Institute class. The promise of the service of such an officer, however, is not the most significant note in the quoted letter of the department's recognition of the value of a class such as that suggested by Mr. Sax.

This letter says "second, because a continuous organization of this kind will be of value to the department in insuring the preservation of all schemes which have been tried and thought out." The significance of this clause appears when it is explained that the Camouflage Corps now in training is destined for work at the war fronts in Europe. When its course of training is completed it will be sent "over there," and unless its personnel is divided and some of its members are kept in this country to train future corps the results of its experiments and thought will be carried with it and a new corps will of necessity be compelled to start its experimental work where the first corps started instead of where the first corps finished.

Here, then, is the value of a definite and permanent camouflage organization composed of persons not eligible for military service, but eminently eligible for camouflage work. That the department would keep such an organization in touch with the work done by the Camouflage Corps can be the only inference placed upon the clause quoted above, for an organization cannot preserve "all schemes which have been tried and thought out" unless it is officially informed of those schemes.

Women Camoufleurs
Mrs. Strong, in a letter to Mr. Sax, told of her plans for a woman's camouflage training course for which she expected at least 1,100 members from all over the country. She had been offered land at Edgemoor, near Washington, for a camp and proposed a course of training to extend over a month or six weeks. This, of course, would be insufficient time to become proficient in all camouflage includes and the difficulty now, when Washington is overwhelmed by transient and new population, of housing and boarding a large body of women would be great. This class was not intended to be a permanent organization.

In a later letter Mrs. Strong expressed a strong desire to merge her plans with those of Mr. Sax if it should become possible to have a military instructor from the Camouflage Corps. In the event of such co-operation about 50 women would come to Baltimore to join the class. Home accommodations can be secured for them by the Young Women's Christian Association. Mr. Sax has been assured by that organization. But the difficulty in carrying such a plan into operation lies in the fact that there is not to be a military instructor. So it is probable that the Maryland Institute class will continue as it is now—an independent and voluntary organization working under the tutelage of Mr. Sax and with the sanction and approval of the War Department as given through Major General Black.

Therefore any day that you may feel so inclined you may step into the camouflage studio at the Maryland Institute and watch a clay cube be made to become invisible by the clever application of paint. So far only the problems of protective coloring as are to be overcome in a fixed light coming from a single angle have been studied. Shortly the class will hold its meetings outdoors so as to become familiar with the difficulties to be overcome in the changing light of the open air. There are at present eighteen members and they meet every day.

Sax Enthusiastic
In speaking of his work Mr. Sax becomes enthusiastic. "I have always been: very much interested in the protective coloring of animals as an outgrowth of my routine art work and I studied quit a good deal in the American Museum of Natural History in New York and in the Field-Columbian Museum in Chicago, where the animals are mounted in their natural surroundings so as to show the value of their colorings as a protection from detection.

"When the subject of camouflage in war first became known I was interested in it for the same reason that the camouflage of the wild animals appealed to me. I read whatever I could secure on the subject and heard several excellent and interesting lectures. There is, however, so little written or generally known of methods already used or still waiting the discovery of the experimenters that the ideas of the veriest amateurs have every possibility of being quite as valuable as those of the experienced 'camoufleur.'


There are two systems of camouflage in use. One makes battleships invisible at a distance of three miles. I could see them fairly distinctly at distance of one mile, but I could see the battleships painted the customary plain gray even more distinctly at a greater distance.

"The colors are put on in alternate stiples of glazed and dull paint. The blotches are by no means applied at haphazard as a close view of the result might lead one to suppose, but a small, flat model of the ship's side is made and painted during a series of experiments in which it is frequently placed upon a wheel and revolved at a definite speed, whereupon the colors blend into the color of sky and sea or not, just as the colors are correctly placed or not.

"This is, of course, only one phase of camouflage, but it involves more than any other the problems of protective coloring. There is here no framework covered with boughs to hide a gun—which is merely the hiding of a gun. A gun painted in such a fashion that it merges at a certain distance with the colors of the earth upon which it rests will have been treated to a coat of protective coloring.

Disguising Wire Entanglements
"The McKay system is much used in the camouflaging of wire entanglements. A black wire stretched upon ground of light color, or a bright wire stretched over a dark surface is easily discernable, but a wire painted in alternate stripes of black and white becomes at a comparatively small distance invisible to the observer.

"And now that we are really getting to know something of the methods of protective coloring it is necessary for us to seek ways of detecting the result such methods when used by our enemies. It has been learned that a cleverly camouflaged fence may be detected by the shadow which it casts and though such a shadow may not be readily discerned by the eyes it is infallibly revealed by the camera.

"The photographic plate also frequently reveals artificial coloring. It has even been said that the camera can detect the use of artificial foliage or grass, because it photographs in a different tone from that which real foliage or grass photographs, but no successful demonstration of this fact (if it is a fact) has as yet been made.

"The possibilities for new discoveries of value in protective coloring or in the detection of protective coloring are tremendous and it is our hope that some of the discoveries of greatest value may be made through experiments made in Baltimore at our own art school." 

RELATED LINKS

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

Wednesday, July 16, 2025

hollywood leg enhancer is biting the legs that feed him

Hazel Canning, EXPERTS ON FEMININE LEGS PUT CHARACTER ABOVE BEAUTY in Boston Sunday Post, April 29, 1945, p. 5—

Willy of Hollywood [dba Willy's of Hollywood] launched the topic of legs.

Willy is a stocking maker and leg camouflage expert in the movie city.

In fact, it is said that Willy can make stockings to give insoucient slenderness to the stumpy legs: a saucy challenge to the leg rather blocky and unshaped; whimsy, appeal and charm to the toughest, the stodgiest, the stiffest of feminine appurtenance which connects a shapely or otherwise ankle to the knee.

Recently Willy studied Miss Greer Garson as she was photographed in her kilt costume for the dance in Random Harvest.

These words he spoke more as a connoisseur than a critic, but nevertheless, the man whose speciality is reshaping feminine legs was not exactly pleased with Greer Garson’s. His comment sped across the ocean and into the London Mail. Garson read it, then she spoke.

“I,” said she, “have no need of a leg camouflager. My legs are my own; the ones with which I dance in Random Harvest. My paying customers have never complained about my legs. Now if this Willy is really a leg camouflager, I think he is rash. By advertising his trade, is he not, rather, biting the legs that feed him?”…

RELATED LINKS 

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

Sale-priced books on camouflage / free shipping

Saturday, July 12, 2025

I can transform anyone into whatever they want to be

Above Cartoon by W.K. Haselden in The Daily Mirror, January 14, 1918.

•••

EDITH HEAD (Hollywood costume designer), as interviewed in The Daily Mirror, November 2, 1970—

Well, I can go back to Mae West or right forward to Paul Newman. I was the first one to put clothes on Mae.

I remember she said to me: “Fit it tight, honey, I want them all to know I’m a girl from every angle.” But it didn’t work with Anita Eckberg.

There was so much of her that kept falling out.

I’m a camouflager. I can transform anyone into anything they want to be.…


•••

camouflage research site map

RELATED LINKS    

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

Thursday, July 10, 2025

camouflage practices in Mexico in advance of WWI

Above José Guadalupe Posada, Calavera de Don Quixote, relief etching, 1913.

•••

MEXICAN CAMOUFLAGE in The Nenana Daily News (Nenana, Yukon, Alaska) November 16, 1918, p. 2—

Camouflage as war art was known in Mexico long before it was used in Europe, although not by that name. Mexican soldiers since the days of [President Porfirio] Dias have practiced concealment for military advantage. They have been known to place their high crowned straw hats on poles stuck in sand hills in such a way as to make the enemy force believe they were defending the hill, then flank the enemy from another direction. [Victoriano] Huerta's federal soldiers used camouflage to conceal the port holes in the sides of armored railroad cars. A checkerboard pattern was painted on the sides of these cars and black and white squares concealed the rifle ports.

The Mexican fighting men have also used the trick of covering their high hats and bodies with brush to advance on the enemy positions through thickets. Villa originated the plan of driving a herd of cattle into a beseiged town at night in order to draw the fire of the defenders and to explode any mines in the streets.

The most primitive, though effective application of camouflage in Mexico was the practice of the Tarahuamara [Rarámuri] Indian scouts with [Francisco] Madero’s revolutionary army. These half naked scouts would precede the army, and, by doing a kind of pattern dance, raised a cloud of dust which concealed them from the view of the enemy and permitted them to approach the enemy positions without being detected in their envelope of dust which resembled a dust whirl common on Mexican deserts.

RELATED LINKS    

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