Showing posts with label camouflage. Show all posts
Showing posts with label camouflage. Show all posts

Saturday, March 28, 2026

no more spit and polish / WWI trench mud in your eye

Above Rawley Morgan, "Our Involuntary Disguises" in The London Bystander, March 20, 1918, p, 613.

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CAMOUFLAGE TOPIC OF PRESIDIO TALK: Commonest Instance Cited as Clove Eaten by Men Who Go Out Between Acts; MUD HANDIEST IN TRENCH; Captain Gillette Illustrates Fine Points for Student Officers Showing How Shading Is of Great Importance in The Sunday Oregonian (Portland), November 11, 1917, p. 3—

OFFICERS TRAINING CAMP, Presidio of San Francisco, Nov. 10: "Camouflage—a spice known as the clove, largely consumed by men who leave the theater between acts to go and use the telephone."

This is one domestic description of the word camouflage, but it isn't quite the camouflage that is taught for war purposes. The chief ingredients of the camouflage of war, with all due respect to the words of well-known war correspondents like Will Irwin and others, is not paint and artistic ability, but just plain, ordinary mud.

At least such is the declaration of Captain Douglas H. Gillette, Engineer Corps, who recently gave a lecture to the Presidio "officers-to-be" on the subject of camouflage.

Paint is a scarce commodity at the front, and the same is true of burlap and canvas, and when these ingredients are absent the soldier boys find it very easy to do a good camouflaging job by smearing the mud—same mud that is used on football fields in Oregon—over the spokes and caissons of artillery material and otherwise disguising military secrets from the enemy aircraft and other observers.

"It is important, remarked Captain Gillette, "to conceal the heads of the men firing from the trenches."

Trenches Are Obliterated
"There are two ways to conceal heads, and the one chiefly recommended is to obliterate the line of the trenches as much as possible. Daubing the head in mud or dust sounds better to a great many of the student officers, however, for once a man has lost his head his efficiency is greatly curtailed, whereas it is ofttimes possible to recuperate after the loss of a mere trench.

"All camouflage is based on the idea of fooling the enemy by making it appear that what is, is not, and what is not, is. It may apply to a single man or gun or to an entire position. The art is new, but It has been used so extensively that the supply of raffia, from which screens. were made, is exhausted, and they have to use shredded palmetto leaves and Florida moss.

Outlines Broken Up
"If it is sought to hide a battery, the best plan is to break up its outline so it cannot be recognized by enemy airplanes. If a scout is looking for a gun and sees something that looks like a cow he is not likely to boast that he has attained the object of his search. It is a fact that objects are recognized by their shape more than by anything else.

"Things should always be painted dark on top and light below; that is to make shadows look natural. For the same reason painted canvas is sloped at an angle of at least 30 degrees over raised objects. A painted pattern should never be stopped at an edge; it should extend around the corner. Dull colors are best, usually.

"One school of camouflage artists holds that the best way to reduce the visibility of material is by making it look like straw—if it happens to be in a locality where there is straw—or by disguising it as bushes. If there are three or four guns at regular intervals bushes should extend from one to the other; four piles of bushes 30 to 40 feet from each other might enable an airplane scout to penetrate the disguise.

Mud Used Profusely
"Spokes and rims of gun carriages should be spotted with mud. The spots should be irregular and large, as small spots are likely to attract attention. Positions or material may be concealed
by painted canvas or burlap, raffia or wire net, or canvas over wire net. With a bucket of paint and a brush the simplest form of camouflage, painting, may be achieved.

"The armies have taken full advantage of the qualities of wire net. Sometimes miles and miles of road leading to the rear are covered with the net, through which enemy airplanes can see nothing. At times the net extends along the sides of the road.

"When an airplane appears it is a matter of duty and policy for everyone to hide or remain perfectly still. Cartridge cases must never be placed in large piles in these days of scientific war, for the sunlight reflected from their surfaces gives the enemy a guide."

Four Thousand Germans Killed
Captain Gillette points out tho value of concealing even the frontline trenches by a story of a battalion that concealed its position, and, by waiting until the Germans had advanced to within 50 yards of its trench, killed 4000 of the enemy before retreat was possible. The exact line of the parapet should be confusing to the enemy. If it is not, the position may be sighted during the day and heavy damage may be inflicted at night.

Even the entanglements in No Man's Land feel the force of the camouflage idea. Captain Gillette can't understand why they use galvanized wire, which is highly visible and more ex- pensive than that which has not been galvanized. Because wood is more visible than iron, posts that support the wire are of iron.


Wednesday, January 21, 2026

the man who signs a dictated letter but hasn't read it

Above
World War II American ship camouflage, as applied to the USS Gladiator (1944), a minesweeper. US Navy photograph, public domain, AI colorized.

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Sophie Irene Loeb, WHAT IS CAMOUFLAGE? in The Washington Post, January 31, 1918, p. 7—

…The husband who pretends to be furious because his wife was so slow in letting him in the house that she forgets to scold him for being out late. When a man tells a woman he understands her perfectly. When a strange saleslady calls you "dearie," while waiting on you. The eating place that decreases the portion and increases the price on the plea of patriotism. When wifey buys her husband a lovely sofa cushion for his birthday. When a stranger tells you how much he is respected in his own home town. When a dressed up doll keeps talking about how she "doesn't care a thing about money." The new spring crepe shirtwaists. The youthful old lady who hasn't a gray hair in her head. The lounge lizard who prates about what a grand family he came from. The small boy who brings home a playmate to help square things. The individual who congratulates you on what a fine man your grandfather was and wants to borrow $5. The middle-aged chap who goes to the circus to amuse the neighbor's little boy. The city uplifter who goes to the farmer's wife to tell her how to can fruit. The landlord who tells his shivering tenants how long and hard he has tried to get coal. The climber who invites newspaper reporters to her "exclusive" pink teas. The woman who writes applications to serve near the trenches while she is having her breakfast in bed. The salesman who invites you to dinner because he is "so lonely" and charges it to his firm, from whom you are to buy. The "pillar" in the church who loudly prays for sinners, having yesterday quietly foreclosed the mortgage on the home of the widow and her children. When hubby tells his wife he has a very important meeting at the lodge or must sit up with a sick friend. The fellow in the party who is very busy telling a story when the waiter presents the bill. The man who is always "in a conference" when you telephone. He who signs a letter "dictated," but not read. Many a knitting bag carried in public. The politician who tells newly enfranchised women that his party secured the vote for them. Public officers sitting in skyscrapers and telling how they are reducing the cost of living. The storekeeper who tells you that the thing you asked for is not being "used this year."…

Sunday, January 18, 2026

wartime camouflage efforts of an El Paso car dealer

Above WWI photograph of US General Patton (cropped) standing in front of a tank in France, 1918. Public domain, Wikipedia.

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UNIQUE SCENE IN CAMOUFLAGE: Cleverly Painted Auto Cannot Be Distinguished from Surroundings
in El Paso Herald, June 8, 1918—

In the display window of the Buquor Motor Company is a camouflage scene rarely equaled "over here." In the background is a canvas on which is painted a battle scene—bursting shells and air lurid with explosives. Before this is a Maxwell car, although its best friend would hardly recognize the car because of the camouflage. It is spotted and spattered with green and fire colored splotches. Foliage, in addition to that on the canvas, is supplied by palms and leafing plants.

Standing close to the arrangement, there appears but little remarkable about it, but from the sidewalk the camouflage is quite apparent. From the middle of the street the automobile can hardly be distinguished from the plants and the glare of shots. The work, performed by J. L. Buquor, is so admirably executed that the machine blends with both the glare of shots and with the foliage in such a way as to quite conceal the auto from across the street. The work was done with water colors.

In thus showing how camouflage prevents autos from being detected in time of battle, a spot light has been provided which is used at night time, giving an even better effect than a day view. Naturally things "over there" are constantly in the mind of Johnnie Buquor, his brother, Ad[olph] Buquor, being now ready to depart for France from New Jersey at any time.


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WOMAN COLLAPSES WHEN MACHINE GUN UNEXPECTEDLY EXPLODES IN HER FACE—REALISTIC OLD TANK in El Paso Herald, June 15, 1918, p. 15—

Because he operated a machine gun carelessly Johnnie Buquor is in line to become the defendant in a damage suit. In the display window of the Buquor Motor Company is a big war tank—marked F-4—of the type used by General Byng to roll the biggest victory of the war over the Germans. It is a massive thing with mud-splotched wheels, steel-plated and heavily riveted, surmounted with machine guns whose ominous muzzles frown toward passersby.

Thursday evening a dozen or more pedestrians had stopped on the sidewalk before the window to view the war monster. One woman pressed close to the glass to get a better view of a machine gun pointed towards her. Suddenly the gun belched out fire and smoke, right in her face, the woman screamed and collapsed on the sidewalk.

Now for a little inside information: The big tank that looks like a steel-riveted fort on wheels from the sidewalk, is found when viewed from the other side to be made of old packing boxes, Maxwell mud pans, tubes and old crates. Johnnie Buquor has one of the guns so constructed that lamp-black is puffed out of the muzzle by compressed air, and that's how the woman got shot. Invariably when there is a crowd before the window and the machine gun is touched off, somebody jumps to get out of the way. The discharge is so realistic that people before it don't feel safe.

Saturday, January 17, 2026

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?

Age Camouflagin' / Kin Hubbard talks disguising age

Anon / good place for a painting / Chicago 1889
Abe Martin [Kin Hubbard], SHORT FURROWS, in The Indianapolis News, September 28, 1918, p. 4—

Rev. Wiley Tanger addressed "Th' Serious Thinkers" in Tell Binkley's insurance office, last night, takin' fer his subject, "Age Camouflagin." After garglin' a dipper o' water, he said: "One o' th first things a feller notices after he reaches fifty is how swiftly Saturday night rolls around. He no sooner takes a bath till he begins t' lay out his underwear fer another one. He no sooner shaves th' snow from his chin till it's white agin. Th' weeks an' months an' years dart by like a Chaplin film. He no sooner gits used t' a straw hat with a polka dot band till it's time t' look around fer a rakish green hat. Th' day's gone ferever when he could git by with a youthful face an' sparklin' eyes an' th' time t' camouflage has arrived. Th' never endin' battle agin relentless ole age is on. Th' barber, th' masseur, th' tailor, th' presser an' cleaner, th' shoe maker, th' osteopath an' th' toupee maker must all be drafted int' his service an' he starts forth t' conquer an unseen foe. But why should a feller try t' hide th' fact that he's fifty? Surely ther's room enough on this earth fer people o' fifty! Who's he tryin' t' fool? What's he tryin' t' put over? He has started over th' top an' a talcumed face an' tan spats won't hold him back! A polka dot hat band an' gray hair won't mix!! A peeled gray head an' a green hat only excite comment—speculation!! I don't mean t' say that a feller should begin t' unravel an wither at fifty. If ther's anything I hate t' see worse'n a peeled gray badger in a pinch-back suit, it's a reconciled feller o' sixty sittin' around fumblin' a set o' white whiskers when he ought t' be plowin'. A feller ought t' be tickled t' death t' reach fifty! He ought t' be proud of it!! What I'm drivin' at is that a feller ought t' stay in his class. A toupeed feller kin never look like anything but a restorer ad! Bright colors only emphasize ole age. If you're spared till fifty, take advantage o' ever' moment from then on, but do it leisurely an' gracefully. Don't try t' look like you've been born agin!

"You kin be youthful in spirit without shavin' all th' time an' smellin' like Floridy water!! Talk about th' golden days o' youth!!! What's th' matter with th' diamond studded years beyond fifty? At fifty we should quietly apply th' brakes an' leisurely descend th' slope with seasoned muscles, ripe judgment, shorn of illusions, rich in experience, filled with sweet, memories, grateful fer havin' successfully weathered th' adventurous years o' youth, with a keen appreciation o' ever precious hour an with th' knowledge that ther's no new sensations. Let's stop camouflagin' an' leave th' pinch-back clothes an' zebra shirts t' youth. Let's bathe ever' Saturday as usual, but let's not worry about our chins bein' white. We've had our fling at lady killin' so let's sober down an' resolve not t' drain our reserve tanks chasin' after a procession that's only headed fer where we already are."

Tuesday, January 13, 2026

WWI blue gray dazzle / daubs of rust appear as blood

SS Ceramic in dazzle camouflage
Above
British troop ship SS Ceramic in 1918, at which time it was painted in a dazzle camouflage scheme. It was used again in World War II, during which it was torpedoed and destroyed by a German U-boat in 1942. 656 people were on board, of whom only one survived. A full account of the ship's history can be found in Clare Hardy, SS Ceramic: The Untold Story (2012).

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George Henry Johnston, My Brother Jack. North Ryde, New South Wales: Angus and Robertson, 1990, pp. 3-4—

One recollects something of this later phase [of World War I] in a series of vivid little vignettes that are incomplete and scattered, but bright enough, like the fragments of spilt color I remember strewn on the hall carpet all around the artificial limbs and crutches when the front door slammed in a gusty wind one day and shattered the decorative lead light side panels of red and green and blue and amber glass.

Almost the earliest and yet the clearest of these images is of the troopship Ceramic, with her four rakish masts and her tall tilted smokestack, coming home to the flags and the festoons of garlands and the triumphal arches and the bands playing Sousa marches on the pier at Port Melbourne. The blue-grey abstract dazzle of the camouflage-painting on the steamer's incredibly long, lean hull, although spectacular, came as no surprise to me, but I do remember being astonished by the bright daubs of red lead and the more sanguinary streams of rust streaking down from ports and hawse-hole and scuppers, because I had only visualized the ship before in the gray monotone of a mounted photograph which was kept on top of the piano, together with a hard army biscuit on which was drawn with Indian ink a sketch of a camel and the Sphinx and a palm-tree and the Pyramids and the legend Australian Imperial Forces Cairo New Year 1915. There was no coincidence in the photograph being there on the piano; the Ceramic was the transport that had taken Mother away; the coincidence was that it was the same ship that brought Dad home. Even so, I had not expected the vivid redness of the rust and the red lead, which to my awed childish imagination looked like blood pouring down the ship's side. Perhaps it had been.


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Monday, January 12, 2026

checkerboards, cubes, crosswords and camouflage

Camouflage or crossword?
One wonders if there are historical links between disruptive patterns in camouflage (as in geometric dazzle schemes) and crossword puzzles. If you think of the latter as a pattern of black and white squares, it doesn't take much to see them as related to early kinds of camouflage in which comparable squares were painted on the surfaces of ships (or even fortresses). Those patterns made it confusing to tell which squares were merely painted shapes, and which were cut-out port holes, through which cannons could be fired. We've talked about checkerboard pattern deception more than once, for example here and here.

I was thinking about that recently when I found a source that claimed that the "modern crossword" puzzle (called a "word cross" puzzle at first) was invented in 1913. 

That date seems surprisingly recent, and I wonder if it's accurate There had been earlier British attempts in the 19th century, but its US-based originator was a British-born journalist named Arthur Wynne, whose first puzzle appeared in the New York World on December 13, 1913. It was comprised of white squares in which to print the answers, but there were no black ones.

That purported birth year of the crossword puzzle was the same year as the notorious Armory Show in New York, which introduced Cubism, Futurism and other forms of European Modern Art to the American public. It was met with great derision, and for cartoonists it was an occasion to make fun of abstraction using cubes. I wonder if that event (and the riotous joking that followed) was among the factors that fed the popularity of the crossword puzzle. And then of course in the following year, there was the official adoption of wartime camouflage by the French army in World War I, which some people claimed (and many still insist) was a direct off-shoot of Cubism.

By 1920, one year after the war ended, there was what is sometimes called a "Cross Word Craze" which apparently spread into interior design (checkerboard floors)—and camouflage-like clothing design, as shown at the top of this blog post.

Five years later, a book of crossword puzzles came out. Authored by Torquemada (Edward Powys Mathers) and titled Cross-Words in Rhyme for Those of Riper Years, it was published in London by George Routledge and Sons. The style of its cover could no doubt be called "cubist-like. And in subsequent pages, its cleverness goes even further, since it offers crossword puzzles (as shown below), in which the titles and the overall patterns are indicative of the content. One titled The Swan is shaped like a swan, and another is titled Ballet Russe. We've had great fun with the Ballet Russes, as is evident here





One other detail: As I looked at these pictorial crossword patterns (which look like cross-stitch patterns to me), I was also reminded of vintage newspaper puzzles, including a so-called "cubicow" that we've blogged about before at this link. 

Sunday, January 11, 2026

artist, designers, architects in World War II camouflage

Above
World War II US Army public relations photograph of a course in ground camouflage at Mitchel Field on Long Island NY. The photograph was issued to news vendors in December 1943. The caption read in part as follows—

At "camouflage college" at Mitchel Field, aviation engineers learn everything that is known about the art of camouflage. There is camouflage for every land and clime and in a global war such as this, the camouflage wardrobe is as extensive as that of any lady of fashion.

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Philip Gerard, Secret soldiers: how a troupe of American artists, designers, and sonic wizards won World War II's battles of deception against the Germans. NYC: Plume, 2003, pp. 7-8—

America has a habit of forgetting the lessons of war during peacetime. Though the US Army had fielded a talented camouflage corps in World War I and learned critical lessons from its British and French counterparts about the practical value of deception on the battlefield, by the time the United States declared war on Germany and Japan, it had all but forgotten them. The whole theory of deception had to be reinvented, and a new generation of men trained to put it into effect in a cataclysmic war.

Thursday, January 1, 2026

German soldiers unseen except when surrendering

WWI German artillery camouflage using overhead netting
Clair Kenamore
, From Vauquois Hill to Exermont; a history of the thirty-fifth division of the United States. St Louis MO: Guard Publishing 1919, p. 111—

The invisibility of the Germans was one of their strong points. Their camouflage was good, and they took advantage of every possibility for concealment. Some of our men never saw a German except those who had surrendered. A typical experience was that of Sergeant C.G. McCorkle of E Company, of the 138th, who fought from the "jumping off" day up to the 29th, when he was wounded, but in all that time he never saw a German with a rifle in his hands. All he saw either had their hands high in the air, surrendering, or were using them to work a machine gun.

irregular streaks of black and white painted across it

Unidentified WWI American ship with dazzle camouflage
Edward Alva Trueblood
, In the Flash Ranging Service: Observations of an American Soldier during His Service with the AEF in France. Sacramento CA: News Pub, 1919—

All the boats in our fleet were camouflaged. The King of Italy had great irregular streaks of black and white painted across it. One of the boats in our fleet had a really remarkable picture of a sinking ship painted on its side. Another had two ships painted on its side and was camouflaged to look like two vessels instead of one. While the camouflaged ships appeared strange at first, we soon were used to the unusual appearance, and thought nothing of them. A camouflaged vessel is visible to the naked eye, almost as plain as one that has not been daubed with paint, but it is through the mirrors of a periscope that the camouflage is effective. In reflecting the picture on the horizon, the mirrors lose some of the rays of light, so officers explained to me, hence the eyes of the periscope are unable to detect the camouflage.

Monday, December 29, 2025

can you find a camouflaged cat / an embedded figure

Above Can you find the camouflaged cat? A Victorian-era puzzle picture from The Strand Magazine.

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Roland Pertwee, "Camouflage" in The Strand Magazine, May 1917, p. 502—

For the benefit of those who may not be acquainted with what camouflage means, it might be truthfully described as a thin veil drawn over great events.

There are endless varieties of camouflage and endless uses to which it may be put. A great white road is concealed from the enemy lines by a hedge of thinly-plaited twigs—camouflage, An observation point hidden in the heart of a haystack—camouflage. A mighty gun masked by an awning of fishermen’s nets sprinkled with dead leaves—camouflage. A corpse brought in from No Man’s Land and replaced by a live man, who watches what is toward in the Hun trenches—again camouflage. But perhaps the subtlest variety of all is the kind that men and women devise to screen their real emotions from each other and the world.