Showing posts with label cartoon. Show all posts
Showing posts with label cartoon. 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.


Sunday, November 23, 2025

how to be a futurist —and the birth of modernist snow

Above
A British satirical cartoon about Futurism, published in 1912, one year in advance of the American Armory Show (first US exhibit of Modern Art), and two years before the formation (by the French Army) of a wartime camouflage section. Disruptive camouflage would thereafter be commonly said to have come from Futurism, Cubism and Vorticism.

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Anon, THE SNOWSCAPE: Revelation of Modern Art Not Futurism, Cubism or Other Cosmic Urge, but Phase of Nature, reprinted from the New York Herald in St. Joseph News-Press on January 8, 1923—

The great revelation of modern art is not futurism, cubism, vorticism, or any other of the Freudian cosmic urges. Movements of that sort most always belong strictly to the self-elected heirs of an impredicable posterity.

The revelation of modern art is snow. From the brilliant palette of today a new mantle of pleasure has fallen upon the consciousness of cultivated perception lighter and more lovely than the past ever dreamed.

Snow to the Greeks and Romans was merely something cool to put in a beverage. Among the Italian primitives and through the Renaissance snow scarcely existed save on some background mountain top. Here and there a later Dutchman accepted it as a necessary adjunct to a winter genre. But for the most part art excluded it through a convention almost as rigid as that by which the Japanese printmakers ignored shadows.

The Japanese, of course, loved snow and filled their designs with It. But it was never more than spacing or applied white lead. And the snow blindness of Western art persisted far into the last century. Imagine a snow scene by Corot. Some men, perhaps, were attempting it, especially religious painters, who required it to chill their lost sheep, but only in the Christmas card kind of way until Sisley discovered that Paris streets became in winter an opalescent wonder.

And that is precisely the vital modern discovery—that snow is not white. Faint rose, azure, orchid, lavender, primrose, pearl, or any possible combination in the higher keys it may be, but blank white, never! The sky Itself is not more varied or richer in hue or texture. No one who has ever studied a Redfield, for example. or one of the Swedish, can continue to think of the winter landscape as a dull white sheet of other than a prismatic Persian carpet replete with glorious astonishments.

Modern art has excelled in this alone. Snow is probably the only phase of nature that is being painted better and more sympathetically today than ever before. And because the artist is an interpreter who walks only a few feet ahead of his generation thousands upon thousands of us will look from our windows this winter upon a shimmering rainbow tinted world our fathers never knew.

Tuesday, November 11, 2025

whyah duck decoy, whyah no chicken hunting cartoon

Above
This is the cover of the October 20, 1909, issue of Puck, an American humor magazine that was founded in 1875 and continued until 1918. This cartoon was published about five years prior to the official adoption (by the French Army) of the practice of wartime camouflage. So although it doesn't use the word, it is nevertheless a portrayal of camouflage, such as the employment of decoys.

In the cartoon, two hunters armed with shotguns (labeled on their clothing as "Political Boss" and "Public Service Corporation") are concealed in the reeds on the edge of a lake, waiting for birds overhead to alight. On the water in front of them are various bird decoys, labeled "Respectable Candidates," with which they hope to lure the flocks of birds (labeled "Votes") to land. The text below the cartoon reads "They know the kinds of decoys to use."

Also see Abbott H. Thayer's Vanishing Ducks: Surveillance, Art and Camouflage.

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.

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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.…


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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 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

Friday, June 6, 2025

the perils of counterfeiting / a George H. Blair cartoon

Above This is a camouflage-related cartoon from 1918. It was drawn by George H. Blair, who was a Boston-area newspaper artist and cartoonist. I don’t know where it was first published (this is a restored and rearranged version) but it may have been the Boston Globe. Blair was not a camoufleur, and the relevance of this cartoon and camouflage may be a stretch. Someone in the cartoon—namely Uncle Zeke’s ram Old Ben—has been hoodwinked into thinking that a painting of a ram is the same as the thing itself, a counterfeit. My friend and colleague of many years, plant ecologist Paul Whitson and I once collaborated on an essay that addressed the same subject, titled “Mimicry, Metaphor and Mistake,” which can be accessed here online.

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EASY MONEY ADOPTS OLD STUNT: Takes Dollar Bills and Makes Tens Out of Them: Neat Piece of Work: Camouflaged Bill Discovered Today at Bank Where It Was Deposited—Report Made to US Treasury in Alexandria Gazette (Alexandria VA) November 7, 1919—

Making tens out of ones is the art some enterprising Alexandrian just now is engaged in. In other words the guilty party is taking Uncle Sam's perfectly good one dollar bills and converting them into $10 bills.

The deception was discovered this morning when a victim of the clever camouflage presented the supposed $10 with his usual morning bank deposit.

The counterfeiter it was admitted had done a rather clever piece of work which while it might not pass the average banker it certainly would fool the average busy merchant.

The master camouflager had taken the edges of four ten dollar bilk and cut off a sufficient part from each one to make the figure naught and to all intents and purposes had produced a perfectly good ten dollar bill by using a little glue to help complete the deception.

The bank officials have made a report of the work of the counterfeiter and efforts probably will be made by the Secret Service men to chase the frenzied financier down. 

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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

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