who has been stealing my cigars—it surely is a puzzle

ARNOT ART GALLERY, Star-Gazette (Elmira, New York), 17 Dec 1918, p. 4—

The Arnot Art Gallery will be open this evening from 7 to 9 o'clock and every afternoon during the remainder of this week from 2 to 5 o'clock. Two hundred and sixty-six visitors called at the gallery Sunday to see the color concealment or camouflage pictures. They are very interesting and some of them will puzzle you a little to find the hidden bird. The principles of camouflage are embodied in these pictures.…

Can you find the cigar thief in the Victorian-era puzzle picture above?

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 / 

FALSE COLORS: Art, Design and Modern Camouflage

CAMOUPEDIA: A Compendium of Research

on Art, Architecture and Camouflage

SHIP SHAPE: A Dazzle Camouflage Sourcebook

camouflage / gestalt / design / taoism / bauhaus

watch free online here

Edoardo Dotto / on camouflage & mimicry as duplicity

online link

Recently I became acquainted with the writings of a professor of architecture, named Edoardo Dotto, at the University of Catania in Italy. I am especially drawn to his articles because they are cross-disciplinary. While his essays may originate with architecture and drawing, he reaches out in deliberate ways to adjacent concerns, such as art and vision, pictorial representation, camouflage, humor, and so on. 

I am particularly interested in two of his conference papers, both of which can be accessed online in English. They are “Drawing Hands: The themes of representation in Steinberg and Escher’s Images” (2017); and “Lying to the eye: the mimicry between art and science” (2022), which pertains to art and camouflage. 

edoardo dotto

 

philosopher Monroe Beardsley / cubistic camouflage

decanter and goblet / Monroe Beardsley

Monroe C. Beardsley, Aesthetics: Problems in the Philosophy of Criticism. NY: Harcourt Brace and World, 1958, pp. 95-96—

A line that turns upon itself so that its ends are fused, and is therefore endless, defines a figure, or what is often called a form. It may be a continuous, unbroken, line-area— that is, an outline— or a circular row of dots, or a group of sketchy line-areas that fuse into a broken line and make a triangle, a pitcher-shape, or an elephant-shape. Consider, for a moment, a square, each of whose sides is a line-area. It does not matter much whether you call this outline a single line, or say that it consists of four lines, one for each side. If we speak in the latter way, we shall want to say that when two lines—as any two sides—fuse together in such a way that they both become parts of a single figure, then they “go with” each other. Line X goes with line Y when they are parts of the same figure.

To explore this concept a little further, we may consider the multiple relevance of lines—a phenomenon much exploited in modern nonrepresentational painting, but one that also throws light upon principles that have always been important in painting. Suppose we draw a large goblet bulging at the top, and a small decanter bulging at the bottom, in such a way that the same line-area serves as the right-hand side of the goblet and as the left-hand side of the decanter. This line belongs to two distinct figures at the same time, or, in other words, goes with two distinct sets of lines. It binds the two figures in a particularly intimate way, by guiding the eye from any point on the outline of either figure continuously to any point on the outline of the other. It is interesting to distinguish varying degrees of intimacy in the connection between two figures, depending upon the connections of their outlines. (1) The figures may be entirely separated as in Italian primitive painting. (2) There may be a broken line that goes from one to another, as in a painting by Rubens or El Greco, where the line of one figure’s leg or back will be picked up by the arm or side of another figure. (3) The same line may belong to both figures, as in the decanter-goblet example, or in paintings by Ozenfant, Gris, Braque, or Picasso in one period—see his Seated Woman (1927)…. (4) There may be strong lines that cut across both figures, throwing their actual outlines into the background, so that in fact the figures are actually submerged and tend to lose their character as figures. This is the principle of camouflage.

related observation by Gestaltist Fritz Heider

 

 

 

free online sources of camouflage-related research

more>>>>

Chapter One / Art, Design and Modern Camouflage

Chapter One of FALSE COLORS: Art, Design and Modern Camouflage (2002) can now be accessed online.

don't paint your Chevy Blazer in high visibility orange

Above Full-page feature article on WWII camouflage, titled Dazzle Painting Amazingly Effective in Modern Warfare, as published in the Boston Sunday Post in the Color Feature Section, December 17, 1939, p. 4. Large size, readable online text can be found by searching vintage newspaper sites.

•••

The following interview was conducted through email exchanges in the early months of 2013. It was a conversation between Rich Dana, now Special Collections and Archives' Sackner Archive Project coordinator librarian at the University of Iowa, and Roy R. Behrens, now Professor Emeritus and Distinguished Scholar at the University of Northern Iowa. The resulting text was published in Issue Number 8 of Obsolete! Magazine: The Journal of DIY Analog Anarchy (Iowa City IA), which Dana was founding editor of, an experimental magazine that is now apparently obsolete (aha!). In its published form, the interview was a bit longer, and slight adjustments in wording have also been made. Copyright for the text belongs to the interview participants.

•••

Obsolete Magazine [Rich Dana]: I discovered your work while doing some research on dazzle camouflage. You’ve written quite a bit about dazzle patterns as well as the role of artists in the history of camouflage. Can you give us some background on how you became interested in that?

Roy Behrens: I started writing about it in the late 1960s. I got into camouflage because I was a graphic designer. The big “trade secret” in design is knowing how people are likely to see. At some point I realized that I could learn about that by hiding or disguising things. In other words, camouflage uses the exact same principles as design. It’s just reverse engineering.

OM: Was this like subliminal advertising?

RB: It’s certainly not unrelated to that, but they’re not the same. In subliminal advertising, it was claimed that images were concealed in magazine ads and film trailers, to function as “hidden persuaders.” The principles that we apply in design and camouflage are more straightforward, such as pointing, rhyming and lining things up. They are subliminal to some extent, because they influence us, regardless of whether we are aware of it.

OM: Obviously, the idea of camouflage is an ancient one. When did it become a field of scientific research?

RB: We can thank Charles Darwin for that. Scientists and naturalists became interested in animal camouflage in the late 19th century, because they thought it offered proof of natural selection, the survival of the fittest. But a big breakthrough came in the 1890s when an American artist named Abbott Handerson Thayer realized that camouflage is based on the same “tricks of the trade” that he had learned while studying art at the French Academy.

OM: I'm fascinated by the idea that camo is a type of art that is used to defeat technology. It seems that it’s almost akin to magic to me. Of course, Arthur C. Clarke said that "Any sufficiently advanced technology is indistinguishable from magic." Is camouflage art, technology or both?

RB: I think it’s pertinent to both art and technology, but to lots of other stuff as well. The key thing to remember is that camouflage depends on a relationship. It’s a perpetually shifting relation between an observer (these days it could be a drone or whatever) and the object or person that’s being observed. A deer can’t see high visibility orange, but that same color is blaringly obvious to humans. To camouflage something, you have to know what kind of visual system you are trying to conceal it from. In other words, camouflage has to keep up with surveillance, and vice versa—it takes two to tango.

OM: Camo is typically associated with the military. Are there civilian uses for camo, other than hunting?

RB: Actually, there’s a long rich tradition of using camouflage for non-military purposes. For example, you just mentioned magic, which famously works by “fooling the eye.” And there are lots of other uses in stage productions, fashion design, cosmetics, architecture and so on. And of course, some of the most successful camouflage practitioners are in marketing and politics. Camouflage is also used in other forms such as language. Maybe I should mention that recently I’ve been exchanging emails with a university student in the UK who’s working on proposals for benign, non-military uses of camouflage. There’s a lot that could be done in that area. Mostly he’s developing ways to make certain things around us (windmills or cell towers, for example) less like eyesores, and, at same time, to make critical landmarks more conspicuous. But this is a shifting relation as well: Since it’s common now for everyone to walk around in camouflage or high visibility orange clothing, it’s not as easy to be sure who’s really an emergency worker and who isn’t.

OM: Let's talk about dazzle camouflage. To me, dazzle represents very much the spirit of the Modern era. Does that make sense? It seems to be consistent with what was going on at the start of the 20th century, technologically and artistically, and, in some ways, even in psychology, in the use of abstract patterns, and so on.

RB: Over the years, a lot people have said exactly that about the resemblance between camouflage and certain branches of Modernism. During World War I, one of the British Vorticists [Edward Wadsworth] was a dock supervisor for ship camouflage. And there’s the famous story about Picasso seeing French military camouflage for the first time, and saying to Gertrude Stein, “Aha, we invented that. That’s Cubism.” There’s a ton of other examples of this, and my books are attempts to identify those. Hundreds (maybe thousands) of artists, designers and architects served as military camouflage consultants (they ecame known as “camoufleurs”) during both World Wars. But oddly enough,those who were responsible for the most bizarre dazzle patterns had been mostly traditional artists before. And after the war ended, their art careers completely collapsed—because, ironically, their artwork wasn’t Modern enough.

OM: Can you talk a little about how dazzle was conceived and developed, and what made dazzle patterns effective?

RB: The term as it’s now commonly used is more or less synonymous with any pattern that is made up of a hodgepodge of high contrast, distinctively-colored shapes. I call it “high difference” camouflage (because the figure breaks apart), and I distinguish it from “high similarity” camouflage (in which a figure blends in with its background or surrounding). Historically, however, the meaning and purpose of “dazzle painting” was much more specific. It was a kind of ship camouflage that was developed by British artists during World War I. Its primary function was not to hide a ship on the ocean (that wasn’t possible back then), but rather to make it confusing to view through the periscope of a German U-boat. It’s a complex subject, but the idea was mostly to “spoil the aim” (to throw off the calculations) of submarine torpedo gunners. It’s popular now for people to say that dazzle painting was ineffective, but the more you learn about the circumstances, the more apparent it becomes that it did indeed work.

OM: I’ve noticed that dazzle patterns are increasingly used in fashion. Asymmetrical haircuts and face-paint are being used successfully to subvert facial recognition software and surveillance cameras. Any thoughts on this? It's a very 80's cyberpunk dystopian sci-fi look. I love it! But do you think it will be effective? It seems to have a deus ex machina quality to it, in the sense that it undermines digital technology, not with more advanced technology, but with age-old simple tools like abstraction and facepainting.

RB: That’s a curious turnabout, isn’t it. I’ve been following the research on how to prevent digital face recognition, and apparently it works for now. But that too is indebted to Modernism, since it’s related to research that began with the Gestalt psychologists in the 1920s. Not surprisingly, the Gestaltists also wrote about camouflage, and about graphic design principles.

OM: That's really interesting. So essentially it’s about how the brain processes data that it receives from the eyes. Facial recognition computers programs look for geometric specifics of the structure of the face, rather than hair color, skin color, etc, which are really culturally programmed ways that humans see.

RB: Much of what we’re talking about is being confirmed by current brain research. There seem to be aspects of vision that are learned and culture-laden. On the other hand (and this especially interests me), there are also inherent, hard-wired defaults of vision that “come in the box” with everyone’s brain. If we go to war with another country, we can be sure that they will be hoodwinked (to some extent) by the same camouflage patterns that throw us off: figure-ground blending, figure disruption (or dazzle), mimicry, and the combined use of blending and dazzle.

OM: Correct me if I'm wrong here, but I think historically there are a lot of examples of technologically “inferior” forces defeating vastly "superior" forces by using the environment to their advantage. Doesn't it seem like the growing surveillance state will always be running to catch up with the low-tech workarounds of the indigenous population?

RB: Well, you could put it that way. Again, the two sides have to correlate, and conditions are constantly changing. But in a way, everything’s a workaround, whether low tech or high. So you could say that, yes, high tech will always be struggling to keep one step ahead of Rube Goldbergian workarounds. But in the same way, low tech will always be struggling to jerry-rig new workarounds. One thing is certain: their dance is unlikely to ever conclude, short of a massive, finite end.

OM: I’m changing direction here: I started thinking about this when I bought an old Chevy Blazer from the National Guard. It is painted "forest" camo, I guess you would call it, mostly olive drab with black and brown. It's a spray can job, so it’s wearing out fast and I need to repaint it. So I began researching other patterns, and thinking about the Iowa landscape. Ideally, what sort of patterns and colors would be most effective in our environment?

RB: It depends on why you’re doing this. If you effectively decrease the vehicle’s visibility by matching it with the Iowa landscape, you might increase your chances of getting hit by another driver. And even then, what is the “Iowa landscape”? Urban, woodland, cornfield, grass? And in what season of the year? Now and then I’ve thought about putting a camouflage pattern on my car, but I’ve always opted out. In relation to choosing a season, if I painted it white for the winter, I wouldn’t want to drive it home during one of those Iowa snowstorm white-outs.

OM: I also considered putting a WWI naval dazzle pattern on it, just as an art project. It would be sort of ironic because it would be the most noticeable vehicle in the parking lot.

RB: I thought about this too, when I was considering my own car. Like you, I have a great fondness for dazzle patterns, so I thought I wouldn’t want my car to blend with the surroundings. I would prefer that it stand out dramatically (like those WWI dazzle-painted ships), and be painted in a clever way that uses confusing brightly-colored shapes to distort the physical shape of the car. But then I thought, that’s really asking for trouble: First, it would stand out in the parking lot and probably get vandalized. Second, when I’m on the road, it might be so confusing to see that I could end up getting hit. Or third, if it’s too distracting to other drivers, they might collide with other cars. Well, whatever you decide, don’t paint your Chevy Blazer in high visibility orange—or you’ll get run into by a deer.

OM: Ha! That would be ironic to say the least! Here's a thought; from what you have said about relationships, landscape and how people see, perhaps a car painted with primer would be the best all purpose camouflage. Culturally, I think people might look past it because primer paint represents lower social status. Just the way people look past a homeless person on the street. Parked in a lot it might be less likely to be broken into. In a field, it might be seen as abandoned. On the flipside of course, driving home late at night, it might be more likely to draw the attention of law enforcement, who are programmed to see something else.

RB: If we continue with this train of thought, we may end up putting antlers on your car, covering it with flocked wallpaper—or better yet, with chia sprouts—and transforming it into an automated jackalope. That might cut down on traffic too, since no one else would want to be seen driving beside it.…

 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

intentional duality for concealment and differentation

Deyan Sudjic, The Language of Things. London: Allen Lane, 2008, pp. 152 and 154—

Camouflage is ostensibly a functional, practical phenomenon, adopted by the armed forces of every country for the purposes of concealment. But over the years it has in fact been transformed into a pattern for differentation. Every national army has its own camouflage pattern, and uses it to tell friend from foe. At the same time that camouflage tries to make its wearers invisible, it is also generating a highly visible signal, intended to identify them to their own side.

Marcel Breuer / smuggling banknotes out of Germany

Bauhaus, Gestalt and Problem Solving

Bauhaus, Gestalt and Problem Solving: Thinking Outside the Box , a recent online video talk, includes an old familiar joke about a factory worker who left work each day with a wheelbarrow full of packing peanuts. The joke is a prime example of a switch of attention (as in, for example, misdirection in magic acts). The worker was suspected of smuggling factory components, but nothing was found. In the end it was determined that he was stealing wheelbarrows. I was reminded of this when I ran across the story of how Bauhaus furniture designer and architect Marcel Breuer succeeded in smuggling banknotes through customs when he left Germany for London. 

•••

Jack Pritchard, View from a Long Chair (London : Routledge & Kagan Paul, 1984), p.111—

Carola Giedion [wife of Sigfried Giedion] and Sybil Moholy [wife of Laszlo Moholy-Nagy] were sharing a flat [in London] for a while, and Sybil had received a book from [Marcel] Breuer which , when opened, was found to be [Adolf Hitler’s famous book] Mein Kampf. It was worse than a poor joke, she and Carola were furious and threw it away wtth the rubbish. Breuer arrived soon after, apparently happy at being away from Nazi Germany, only to find two furious dames attacking him wtth no mercy. When he could get a word in he explained that, in order to get some of his money through German Customs, he thought it would be a bright idea to interleave their leader’s great book with banknotes. They would surely not examine it with any great care. There was immediate pandemonium, all rushed down, hoping the rubbish had not yet been taken away. When they found the book, all was forgiven.

the organizing principles that underlie all camouflage

Above and below Still excerpts from Art, Design and Gestalt Theory: the film version (2023), a film about the perceptual organizing principles that are fundamental to human vision, including camouflage.

Art, Design and Gestalt Theory: The New Film Version

Recently completed: Our most popular video talk, titled Art, Design and Gestalt Theory: The Film Version (40 mins). It traces the emergence of Gestalt psychology (c1910), as well as its connections to holism, Taoism, yin and yang, displacements of attention, contrast illusions, color, camouflage, graphic design, and architecture. Ideal for classroom screenings, and library discussion events. Non-monetized, free full online access for anyone at YouTube.

the face of dread / when deception is too much to bear

Above Agricultural Instruments of Human Sustenance [a visual pun]. Historic engraving detail.

•••

Maurice Browne, Too Late to Lament: An Autobiography. Bloomington: Indiana University Press, 1956, p. 30—

Mr. Pickford was one of the finest Sanskrit scholars of his day. He was very poor; he had sacrificed his life to Sanskrit and his sister. His sister kept house for him in a little village where he was rector, a few miles outside Ipswich; a dour, bitter, selfish woman whom no one liked. So, for his sister's sake, he had put aside marriage, advancement, happiness, and had taken that obscure living in a poky village in a backward county, to make her a home where were few to hate her.

One day a letter came addressed to Mr. Pickford. Through several weeks he had been hoping for it; if it came, it might offer him an academic position where he could carry to fruition his life's work in Sanskrit. Every morning his sister went downstairs to meet the postman and see whether the letter had come: “No, John, it has not come today; perhaps it will come tomorrow.”

Long afterwards the Vice-Chancellor in whose gift that position lay, meeting Mr. Pickford accidentally in the streets of Ipswich, greeted him coldly: “I considered it discourteous of you not even to have acknowledged the offer which I made you.” Mr. Pickford made no comment. But, when he got back to the ugly, lonely, village rectory, he spoke to his sister. “Yes,” she said defiantly, “of course the letter  came; I read and burned it. I’m very happy where I am, and you’re much better off in a place suited to you.”

A little later Horrid Old Pickford killed himself. My father preached his funeral sermon. There was no mention of, no hint of reference to, that story in it; but the Stoic view of self-murder was upheld by the Anglican preacher.

NOTE There is a short video that pertains to visual puns as embedded figures at this online link.

GTA Links to New Gestalt Theory Related Videos

We were recently pleased to learn that the website for the GTA (International Society for Gestalt Theory and its Applications) has set up a page of online links to New Gestalt Theory Related Videos, including active links to our own short documentary films on art, design and camouflage in relation to Gestalt. This is greatly appreciated. 

There is a list of all of all our films  on our YouTube Channel here. There will soon be more.

British Gestalt Journal / gestalt and camouflage videos

Links to four videos have been posted on the Features section of the British Gestalt Journal at <https://www.britishgestaltjournal.com/features/2022/1/25/roy-behrens-gestalt-theory-and-camouflage>.

Jan Koenderink / to see is to sneeze—in this respect

Jan Koenderink, “Vision as a User Interface” in Proceedings SPIE 7865, Human Vision and Electronic Imaging XVI, 786504 (February 4, 2011)—

Visual awareness is proto-mind stuff. Here I am thinking of the Gestalts or the classical illusions, which are cognitively inpenetrable. Even if you are an expert on a certain illusion, you still see it, cognition doesn’t make it go away. Likewise, a Gestalt like the famous Kanizsa triangle [as shown above] is stubbornly there—in your visual awareness, even though you know that “there is no triangle.” Visual awareness is presentation in the sense that it simply happens to you. Nothing you can do about it, nor are you responsible for the presentations you have. It is much like sneezing in this respect.

Also see Art, Gestalt, and Camouflage (28 min. video talk)

cut-out silhouettes of skunks / embedded figures

Cut-out silhouettes of skunks

Above In a recently posted video on Embedded Figures, Art, and Camouflage (2021) I demonstrate the use of cut-out silhouettes by American artist and naturalist Abbott H. Thayer, who worked in collaboration with his son, Gerald H. Thayer, in the study of protective coloration in nature. 

[During World War I] Thayer objected to the use of field service uniforms of plain, one-color fabric. He thought it was better to break it up, to counter the shading from overhead light, and to generally make it confusing.

At some point, he announced that he had come up with a simple method by which any soldier, in any setting, could determine his own best camouflage pattern. This too made use of cut-out silhouettes. All a soldier needed to do, Thayer proposed, is to cut out a silhouette of his own figure (or the generic shape of a man), and to study the colors and patterns that appeared in the hole of the figure when observed in his surroundings. He had already explored this photographically to recreate the patterns of, for example, birds and skunks [as shown above]…more>>>

• Nature, Art, and Camouflage (35 min. video talk) at <https://www.youtube.com/watch?v=ZLX5YQF-H3k>

• Art, Women’s Rights, and Camouflage (29 min. video talk) <https://www.youtube.com/watch?v=hiSWNYCNRcM>

• Embedded Figures, Art, and Camouflage (26 min. video talk) <https://www.youtube.com/watch?v=3asynn24nD4>

• Art, Gestalt, and Camouflage (28 min. video talk) <https://www.youtube.com/watch?v=nS2ZwYyxy1Y>

attribute rhymes, proximity, and aligned continuities

suite of design-themed posters (designer unknown)

Camouflage artists are not alone in making use of unit-forming factors. As is evidenced by this series of posters, graphic designers make incessant daily use of attribute similarities, proximity, and aligned continuities. Each of these posters is a tribute to a different variety of design (they represent—from left to right—graphic, industrial, and interior design). While each is unique, they hold together as a suite, like a set of dinnerware, as variations on a theme. Recurrent circles (in the form of a plate, a sphere, and side views of a circular table and lamp) are an especially important motif. More>>>

video / a dazzle advertisement of a dazzling discovery

Above A damaged, 19th century Swiss photograph of a small child in a white hat (just left of center) seated on her father's lap, with her mother standing at the right. Circumstances are such that, at first glance, some viewers interpret the child's face as the eye of a profile of Christ, facing left. 

Like the man in the moon, or a face in the clouds, this is an example of seeing apparently meaningful forms in random or accidental formations, called pareidolia. Unless of course (as might well be), the photograph has been altered, to increase the likelihood of seeing the figure. 

As I discuss in a new online 25-minute video talk, titled Art, Embedded Figures, and Camouflage, there is a long tradition of the purposeful insertion of embedded figures (or, as they are sometimes called, camouflaged figures), in picture puzzles and works of art. Here's a brief excerpt from the video narration, followed by the two advertising diagrams that it describes—

Not surprisingly, embedded figures have also been used in advertising. During World War I, for example, at the height of the public’s interest in dazzle-painted ship camouflage, this unidentified diagram was published in a British magazine, repeatedly—on the same page, in the same location—for several weeks. It simply read: A dazzle advertisement of a dazzling discovery. That was all that anyone knew. 

And then, suddenly, in the last week of the ad campaign, an “embedded figure” solution appeared, also on the same page, same place. Camouflage has its uses, it said, but Firth’s Stainless Steel needs no protective covering.

mimicry, empathy, brevity, closure and camouflage

 Monroe Books in Berlin, Germany has recently published a book of camouflage-related essays and artworks titled Mimicry-Empathy, edited by German artist Susanne Bürner. Shown above is the front cover. On the back cover (below) is a list of those whose work is included.

Among the essays is our latest, titled "Simpatico on the patio: Empathic art, mimicry, and camouflage." That essay, which deals with the functional link between empathy, closure, and camouflage, is also available online here.  

mechanic and dairyman listed as camouflage artist

RECRUIT OF DRAFT AGE HAS EIGHTY SIX YEARS EXPERIENCE: Personnel Section of Mustering Office Finds a Man Who’s Done Many Things: Dairyman Finally Listed as Camouflage Artist, in Washington Standard (Olympia WA), August 2, 1918, p. 5—

Embedded Cow

Men in the personnel section of the mustering office have rare opportunities for the study of human nature. They interview all styles and conditions of men in filling out the personnel question cards. Many of the replies to their questions are numerous, while the stories that some of the new recruits tell them would find a place among the best of Ananias’ tales.

When the card of one dairyman was filled out it was found that although he was 28 years of age, he had already had 86 years of experience in various lines of work. Besides being a mechanical engineer, he had been a mechanic in several lines, was a poet and artist. The interviewer listed him as a camouflage artist.…

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Embedded Figures 

Hypothetical Camouflage