Military camouflage is the use of camouflage by military forces to protect personnel and equipment from observations by enemy forces. In practice, this means applying color and material to military equipment of all kinds, including vehicles, ships, planes, gun positions and battledress, either to hide it from observation (crypsis), or to make it appear as something else (mimicry). The French slang word camouflage came into general use of English during World War I when the concept of visual fraud evolved into an important part of modern military tactics. In the war, long-range artillery and observations from the air were combined to expand the field of fire, and camouflage was widely used to reduce the danger of being targeted or to allow surprises. Thus, military camouflage is a form of military fraud.
Camouflage was first practiced in a simple form in the mid-18th century by jagger or rifle units. Their tasks require them to be inconspicuous, and they are given a green uniform and then others. With the advent of further range and more accurate weapons, especially recurrent rifles, camouflage was adopted for the uniform of all soldiers, spreading to most forms of military equipment including ships and aircraft. Many modern camouflage textiles cover visibility not only for visible light but also near infrared, for concealment of night vision devices. Camouflage is not only visual; heat, sound, magnetism and even odors can be used to target weapons, and may be deliberately hidden. Some forms of camouflage have a scale invariant element, designed to disrupt outlines at different distances, usually digital camouflage patterns made of pixels. Camouflage patterns also have cultural functions such as political identification.
Camouflage for equipment and position was developed extensively for military use by France in 1915, soon followed by other World War I forces. In both world wars, artists were recruited as camouflage officers. Camouflage vessels were developed through a dazzling blinding camouflage scheme during World War I, but due to radar developments, camouflage vessels have received less attention. Aircraft, especially in World War II, often painted with different schemes above and below, to disguise them against their own land and sky.
Military camouflage patterns have been popular in the world of fashion and art since 1915. Camouflage patterns have appeared in the works of artists such as Andy Warhol and Ian Hamilton Finlay, sometimes with anti-war messages. In fashion, many great designers have exploited camouflage style and symbolism, and military or imitation outfits have been used both as street clothes and as a symbol of political protest.
Video Military camouflage
Prinsip
Military camouflage is part of the arts of military deception. The main purpose of military camouflage is to deceive the enemy like the presence, position and intentions of military formation. Camouflage techniques include concealment, disguise, and dolls, applied to troops, vehicles, and positions.
Vision is the main orientation in humans, and the main function of camouflage is to deceive the human eye. Camouflage works through concealment (whether by hoarding, preventing casting shadows, or outline disturbances), mimicry, or perhaps by dazzling. In modern warfare, some forms of camouflage, such as face paint, also offer concealment from infrared sensors, while CADPAT textiles also help provide concealment from the radar.
Kompromi
While camouflage tricks are in principle unlimited, both cost and practical considerations limit the choice of methods and the time and effort devoted to camouflage. Paints and uniforms should also protect vehicles and soldiers from elements. The unit must move, fire its weapons and perform other tasks to keep functioning, some of which are opposed to camouflage. Camouflage can be dropped altogether. At the end of the Second World War, USAAF left camouflage paint for several aircraft to lure enemy fighters to attack while in the Cold War some aircraft with polished metal skins, to reduce barriers and weight, or to reduce the vulnerability to radiation from nuclear weapons.
There is no single, effective camouflage pattern in all fields. The effectiveness of a pattern depends on the contrast and the color tone. Strong contrasts that disrupt borders are more suitable for environments such as forests where light and shadow games stand out, while low contrast is more suitable for open terrain with less shadow structures. Field-specific camouflage patterns, made to match local terrain, may be more effective on the terrain than in more general patterns. However, unlike animals or civil hunters, military units may need to cross several types of terrain such as forests, farmlands and areas built within a day. While civilian hunting clothing may have an almost image-realistic picture of tree bark or leaves (indeed, some of the patterns are based on photographs), military camouflage is designed to work in various environments. With a huge uniform cost, most of the globally operated soldiers have two separate complete uniforms, one for forest/forest and one for desert and other dry fields. US efforts on global camouflage patterns for all environments (UCP 2004) are somehow withdrawn after several years of service. At the other end of the scale is a specific pattern of terrain such as "Berlin camo", applied to British vehicles operating in Berlin during the Cold War, in which the various square shades of gray shades were designed to conceal vehicles against Berlin's concrete post-war architecture.
Other functions
The camouflage pattern serves a shared cultural function of concealment. Experts of camouflage and evolutionary zoologist L. Talas, R. J. Baddeley and Innes Cuthill analyzed calibration photographs of a series of NATO and Warsaw Warsaw uniform patterns and showed that their evolution did not serve military camouflage principles intended to provide concealment. Conversely, when the Warsaw Pact was dissolved, the uniforms of countries that began to support the West politically began to unite on the color and texture of the NATO pattern. After the death of Marshal Tito and the breakup of Yugoslavia, the camouflage pattern of the new states changed, coming to resemble the camouflage pattern used by their neighboring troops. The authors note that military camouflage resembles the coloring of animals in having several simultaneous functions.
Snow camouflage
Season can play a role in some areas. Dramatic changes in color and texture are made by seasonal snow conditions in the northern latitudes, requiring reprocessing of vehicles and snowflake apart. Eastern and Northern European countries have a tradition for winter uniforms that are separate rather than circulating. During the Second World War, the Waffen-SS went a step further, developing reversible uniforms with separate schemes for summer and autumn, as well as the grinding of white winter.
Movement
While patterns can provide crypts that are more effective than solid colors when the disguised objects are stationary, any pattern, especially those with high contrast, stands out when the object moves. The camouflage uniform of the forest was expelled during the Second World War, but British and American troops found that simple green uniforms gave better camouflage when the army moved. After the war, most of the country returned to the colorless uniform for their troops. Some countries, especially Austria and Israel, continue to use today's solid color combat uniforms. Similarly, while larger military aircraft traditionally have disturbing patterns with darker tops on lower lighter surfaces (a form of hoarding), modern fast combat aircraft often wear gray as a whole.
Digital camouflage
Digital camouflage provides disturbing effects through the use of pixellated patterns at various scales, meaning that camouflage helps to defeat observations at various distances. This pattern was first developed during the Second World War, when Johann Georg Otto Schick designed a number of patterns for the Waffen-SS, combining micro and macro patterns in a scheme. The German Army developed the idea further in the 1970s into Flecktarn, which combines smaller forms with fattening; this softens the edges of large-scale patterns, making the underlying objects more difficult to see. Pixelated forms of computer-assisted pre-date design for many years have been used in Soviet experiments with camouflage patterns, such as "TTsMKK" developed in 1944 or 1945.
In the 1970s, US Army officer Timothy R. O'Neill suggested that a pattern consisting of colored square blocks would provide an effective camouflage. In 2000, O'Neill's idea was combined with patterns like German Flecktarn to create pixel patterns like CADPAT and MARPAT. Battledress in the digital camouflage pattern was first designed by the Canadian Forces. "Digital" refers to the coordinate pattern, which is digitally defined. The term is also used for computer-generated patterns such as unbranded multicam and Italian fractal patterns Vegetato . Pixels themselves do not contribute to camouflage effects. The pixellated style, however, simplifies the design and makes it easier to print on the fabric.
Non-visual
With the birth of radar and sonar and other means of detecting military hardware not dependent on the human eye, there came a disguise against them. Collectively this is known as stealth technology. Aircraft and ships can be formed to reflect radar impulses from the sender, and are covered with radar absorbents, to reduce their radar marks. The use of heat-seeking missiles has also led to efforts to hide the heat signatures of aircraft engines. Methods include an exhaust port formed to mix hot exhaust gases with the surrounding cold air, and place the exhaust port on the upper side of the fuselage. Multi-spectral camouflage attempts to hide objects from detection methods such as infrared, radar, and millimeter wave imaging simultaneously.
Hearing camouflage, at least in the form of noise reduction, is done in various ways. The rubber hull of a military submarine absorbs sonar waves and can be seen as a form of auditory camouflage. Some modern helicopters are designed for silence. Battle uniforms are usually fitted with buttons instead of snap fasteners or velcro to reduce noise.
Camouflage smell is said to be rare; Examples include ghillie clothing, special clothing for military snipers made of jute pieces, sometimes treated with mud and even manure to give them a "unpretentious" smell to cover the sniper's odor.
The magnetic camouflage in the form of "degaussing" coils has been used since the Second World War to protect ships from magnetic mines and other weapons with magnetic sensors. Horizontal coils around the whole or part of the ship produce a magnetic field to "cancel" distortion to the earth's magnetic field created by the ship.
Maps Military camouflage
History
Reconnaissance and riflemen
Camouflage vessels are sometimes used in ancient times. Vegetius wrote in the 4th century that "Venetian Blue" (bluish green, like the sea) was used for camouflage in 56-54 BC during the Gallic War, when Julius Caesar sent his surveillance ships to gather intelligence along the coast. Britain. The blue scout boat is bluish carrying sailors and marines dressed in the same color.
Emphasis on hand-to-hand combat, and short range weapons such as rifles, means that recognition and cohesion are more important than camouflage in combat suits until the baroque period. The introduction of longer-range infantry weapons, especially the Baker rifle, opens a new role requiring disguised clothing. In the Seven Colonial Century War (1756-1763), Rangers Rogers armed with guns wore gray or green uniforms. John Graves Simcoe, one of the unit's last commanders, noted in 1784:
Green without the best color comparison for light troops with dark accessories; and if it is worn in the spring, the autumn almost fades with leaves, preserving its almost invisible characteristics from a distance.
The tradition was continued by the British Rifle Regiments who adopted the rifle green for Napoleonic Wars.
During the Peninsula War, Portugal fielded a light infantry unit known as CaÃÆ'§adores, wearing a brown jacket that helped hide it. The brown color is considered more adequate to be hidden in the landscape of most Portuguese regions, in general more dry than the green landscape in Central and Northern Europe.
Other nations soon followed, dressed in their rifle regiments and sometimes also light troops with suitable tones, usually green or gray variations.
The first introduction of the boring general uniform was by the British Corps of Guides in India in 1848. Initially a special dull uniform was imported from England, with one reason being to "make them invisible in the dust ground". However, when larger numbers are required soldiers are improvised, using local dyes to produce local uniforms. This kind of boring uniform is soon known as khaki (Urdu language for dusty, ground-colored) by Indian soldiers, and has a color similar to the local clothing of cotton colored with mazari palm. This example was followed by other British units during the 1857 uprising, dying their white drill uniforms with an unflattering tone with mud, tea, coffee or colored ink. The resulting colors vary from dark gray or gray through light brown to white, or sometimes even lavender. This step of improvisation gradually became widespread among troops stationed in India and the North-West Frontier, and sometimes among the troops who campaigned on the African continent.
Firearms
While long-range rifles became standard weapons in the 1830s, soldiers were slow to adjust their tactics and uniforms, perhaps as a result of most of the colonial wars against less-armed opponents. Not until the First Boer War of 1880/81, a major European force met with well-equipped opponents and experienced in the use of modern long-range repeating weapons, forcing immediate changes in tactics and uniforms. The Khaki colored uniform became the standard official attire for British and British Indian Army troops stationed in British India in 1885, and in 1896 khaki drill uniforms were adopted by the British Army for service outside Europe in general, but not until the Second Boer War, in 1902, did all British troops standardize on khaki (officially known as "drab") for Service Dress.
The US military, which had a green shotgun unit jacketed in the Civil War, quickly followed Britain, left khaki in the same year. Russia followed, in part, in 1908. The Italian Army used grigio-verde ("gray-green") in the Alps from 1906 and the whole army from 1909. Germany adopted feldgrau ("gray field") in 1910. With the outbreak of the First World War in 1914, France was the only major force for the field army still dressed in a striking traditional uniform.
First World War
The First World War was the first full-scale industrial conflict to be fought with modern firearms. The victim's level on the Western Front forced the French to finally release their blue coats and red trousers, adopting a gray-blue "sky-of-the-sky" uniform.
The use of rapid firepower guns and load-laden artillery quickly leads to camouflage of vehicles and positions. Artillery pieces were soon painted with contrasting bold colors to blur their outlines. Another early inclination was to build an observation tree, made of steel with camouflage bark. Such trees became popular among British and French soldiers in 1916. The observation tree was discovered by the French painter Lucien-Victor Guirand de Scà © à © vola, who led the camouflage unit of the French army, the first of its kind in any army. He also invented painted canvas webs to hide the machine-gun position, and this was quickly taken to hide equipment and weapon positions from 1917.7 million square yards used at the end of the war.
The First World War also saw the birth of air warfare, and with it the need not only to hide positions and vehicles from being seen from the air, but also the need to disguise the aircraft itself. In 1917, the Germans began using camouflage lozenges that included the Central Powers aircraft, possibly early printed camouflage. The same disturbing pattern of flaky earth tones, Buntfarbenanstrich 1918, was introduced to the tanks in 1918, and was also used on Stahlhelm (steel helmet), becoming the first use of a standard camouflage pattern for soldiers.
Camoufleurs
In 1909 an American artist and amateur zoologist Abbott Thayer published a book, Hiding-Color in the Animal Kingdom, widely read by military leaders, although his defense of arrest was unsuccessful, despite his patents for hoards submarines and surface ships.
The earliest camouflage artists were members of the Post-Impressionist and Fauve schools in France. Contemporary artistic movements such as cubism, vortism and impressionism also influence the development of camouflage as they deal with the annoying outline, abstraction and color theory. France established the Camouflage Section at Amiens in 1915, led by Lucien-Victor Guirand de Scà © à © vola. His camoufleurs include artists Jacques Villon, AndrÃÆ' © Dunoyer de Segonzac, Charles Camoin and AndrÃÆ'Ã… © Mare.
The camouflage scheme of the First World War and the Interwar period that used dazzling patterns are often described as "cubist" by commentators, and Picasso claims with a distinctive hyperbola "Yes, we make it, that's cubism." Most artists employed as
Other countries soon saw camouflage profits, and established their own unit of artists, designers and architects. The British established the Camouflage Section at the end of 1916 in Wimereux, and the United States followed with the New York Camouflage Society in April 1917, the Official A 40 Engineer Company in January 1918 and the Women's Backup Camouflage Corps. The Italians founded the Laboratorio in Mascheramento in 1917. In 1918 de Scà © à © vola led camouflage training with over 9,000 workers, not counting the camoufleurs working in front of themselves.
From the Second World War
Printed camouflage for protection was introduced to Italian and German troops during the interwar period, M1929 Telo mimetico moget in Italy and Angle Splittermuster 31 in Germany. During the War, both patterns were used for paratrooper uniforms for their respective countries. The British soon followed him with a brush-type pattern for their Denison jacket, and the Soviets introduced an "amoeba" costume for their snipers.
Hugh Cott's 1940 book Coloring Adaptive in Animals systematically covers the various forms of camouflage and mimicry in which animals protect themselves, and explicitly draw comparisons with military camouflage:
The principle is one with many applications for modern warfare. In the Great War it was exploited by the Germans when they introduced a highly marked incident with a white or black tone to hide the contrast of the tone created by the sloping side of the camouflage screen, or the roof, as seen from the air. The same principle has, of course, specialized applications in every effort to reduce the visibility of large objects of all types, such as ships, tanks, buildings, and aerodrome.
Both British and Soviet aircraft were given wave-type camouflage paints for their upper surfaces during the war, while American planes still had a simple two-color scheme (different top and bottom sides) or even funneled with no camouflage at all. Italy and several Japanese aircraft wearing spray pattern. German aircraft mostly use camouflage pattern of striped corners, but the Germans experiment with different schemes, especially in the final stages of the war. They also experimented with various patterns of camouflage camouflage for tanks and other vehicles, while most Allied vehicles remained colorless.
The Directorate of Camouflage The UK Middle East Command, comprised mostly of artists recruited into the Royal Engineers, developed camouflage use for large-scale military fraud. Operations combine actual installation disguises, vehicles and stores with simultaneous display of dolls, whether to draw fire or to give wrong idea about force of strength or possible attack direction. In Operation Bertram for a decisive battle at El Alamein, the dummy armored division is entirely built, while real tanks are disguised as hulled transport using the "Sunshield" cover. The capabilities developed are not only used in the western desert, but also in Europe as in the fraud of the Operations Guard for the Normandy Invasion, and in the Pacific campaign, as in the Battle of Goodenough Island.
The introduction of strategic bombing led to efforts of air camouflage and strategic production centers. These forms of camouflage positions can be very complicated, and even include fake homes and cars. With the threat of nuclear weapons in the postwar era, such elaborate camouflage is no longer useful, since direct attacks are not required with strategic nuclear weapons to destroy the infrastructure. The Soviet military doctrine of maskirovka (literally: disguise, camouflage, concealment) defines the need for surprise through fraud, including camouflage, based on experiences such as the Kursk Battle in which camouflage helps the Red Army to overwhelm a powerful enemy.
Apps
Uniform
The role of the uniform not only to hide every soldier, but also to identify friends from the enemy. The uniform issue of "Frogskin" for US troops in Europe during the Second World War was stopped because it was too often misunderstood as a poorly patterned German uniform worn by the Waffen-SS. Camouflage uniforms need to be made and distributed to a large number of soldiers. The camouflage uniform design therefore involves a tradeoff between camouflage effects, recognition, cost, and manufacturability.
Soldiers facing service at different theaters may need different camouflage uniforms. Separate issues of cold camouflage uniforms/forests and deserts are common. The patterns can be to some extent adapted to different terrain by adding the means of bundling vegetation pieces into uniform. Helmets often have a net cover; some jackets have small circles for the same purpose. Being able to find the appropriate camouflage vegetation or in other ways modify the combat uniforms issued to suit the local terrain is an essential skill for infantry soldiers.
Countries in boreal climates often require snow camouflage, either by having a reversible uniform or simple clothing. Such simple clothes can be used for other terrain as well. Austrian and Israeli soldiers use solid color field uniforms, relying on simple clothing for camouflage.
Ground vehicles
The purpose of camouflage vehicles and equipment is different from personal camouflage because the main threat is air surveillance. The goal is to disrupt the vehicle's characteristic shape, reduce the sheen, and make the vehicle difficult to identify even if seen.
Paint is the least effective measure, but forms the basis for other techniques. Military vehicles often get so dirty that camouflage painted patterns are invisible, and even though matt colors reduce the luster, wet vehicles can still shine, especially when viewed from above. Patterns are designed to make it more difficult to interpret shadows and shapes. The British Army adopted a disruptive scheme for vehicles operating in the rocky desert of the North African and Greek Campaigns, retrospectively known as the Caunter scheme. It is used up to six colors applied with a straight line.
The British Army's Special Air Service uses pink as the main color of the disguised Land Rover Series IIA patrol vehicle in the desert, dubbed the Pink Panthers; colors have been observed indistinguishable from the distant sand.
Nets can be effective in defeating visual observations. Traditional camouflage nets use textile garnishes to produce a clear texture with a depth of shadow made beneath, and the effect can be reinforced with vegetation fragments. Modern nets tend to be made of sophisticated plaiting materials, which are more easily mounted on a vehicle and do not have "windows" between pieces of traditional mesh decoration. Some nets can remain in place while the vehicle is moving. Simple nets are less effective at defeating radar and thermal sensors. The heavier, more durable "mobile camouflage system", is basically a conformal blanket with thermal and radar properties, providing unexpected levels of concealment caused by having to spread nets around the vehicle.
Active camouflage for vehicles, using heated or cooled Peltier plates to adapt to infrared backgrounds, has been made in industrial prototypes but not yet put into production.
Ship
Until the 20th century, naval weapons had short distances, so camouflage was not important to the ship, and to the people above them. Paint schemes are chosen on the basis of ease of maintenance or aesthetics, usually upperworks buffs (with polished brass fittings) and white or black hulls. Around the beginning of the 20th century, increased naval engagement, as demonstrated by the Battle of Tsushima, prompted the introduction of the first camouflage, in the form of some solid gray color as a whole, in hopes the ship would fade into fog.
The First World War and the Second World War The fascinating camouflage, spearheaded by British artist Norman Wilkinson, was used not to make ships disappear but to make it appear smaller and/or faster, to encourage misidentification by the enemy and to make ships it was hit harder. In World War II, the Royal Canadian Royal Navy tested an active camouflage form, reverse imaging, using scattered lighting to prevent the ship from appearing as a darker form of the lighter sky at night. This reduces visibility by up to 70%, but is unreliable and never goes into production.
After World War II, the use of camouflaged radar was generally less effective. However, camouflage may have helped protect US warships from Vietnam's coastal batteries using optical distance meters.
Coastal patrol boats such as the Norwegian, Swedish, and Indonesian navies continue to use terrestrial patterned camouflage patterns.
Planes
Airplane camouflage faces the challenge that the background of the aircraft varies greatly, according to whether the observer is above or below the plane, and against the background, eg. farmland or desert. Aircraft camouflage schemes often consist of bright colors underneath and darker colors on top.
Another camouflage scheme recognizes that the plane can be seen in any angle and against any background while in combat, so the plane is painted whole sections with annoying patterns or neutral colors like gray.
The World War II maritime patrol aircraft such as the Consolidated PBY Catalina flying aircraft are painted white, since the aircraft generally appear dark against the sky (including at night), and therefore least visible when painted as lightly as possible. The problem of the dark appearance of the sky was explored in the US Navy Yehudi lamp project in 1943, using back imagery to increase the average brightness of the aircraft, when viewed directly, from the same dark form to the same sky. The experiment worked, allowing the aircraft to approach within 2 miles (3.2 km) before being seen, while a lightless airplane was seen 12 miles (19 km) away.
Higher speeds of modern aircraft, and reliance on radar and missiles in air combat have reduced the visual camouflage value, while increasing the value of electronic "stealth" measurements. The modern paint is designed to absorb the electromagnetic radiation used by radar, reduce aircraft signatures, and to limit the emission of infrared light used by heat-seeking missiles to detect their targets. Further progress in camouflage aircraft is being investigated in the field of active camouflage.
In fashion and art
Fashion and Dazzle Ball Dazzle_Ball "'> Fashion and" Dazzle Ball "
Transfer of camouflage patterns from battle to exclusive civil use is not new. Enchanting camouflage inspired the trend of dazzleque patterns used in clothing in England, beginning in 1919 with the "Dazzle Ball" held by the Chelsea Arts Club. Those present were dressed in stunning black and white outfits, influencing fashion and the art of the twentieth century through postcards (see illustrations) and magazine articles. The Illustrated London News was announced
The decoration scheme for a large costume ball given by Chelsea Arts Club in Albert Hall, the other day, is based on the principle of 'Dazzle', the 'camouflage' method used during the war in ship paintings.... The total effect is brilliant and fantastic.
Camouflage in art
While many artists helped develop camouflage during and since World War I, the different sympathies of both cultures held back the use of "militaristic" forms in addition to the work of war artists. Since the 1960s, some artists exploited the symbolism of camouflage. For example, Andy Warhol's 1986 camouflage series is his last major work, including Camouflage Self Portrait. Alain Jacquet created many camouflage works from 1961 to the 1970s. The work of Alighiero Boetti 1966/67 "Mimetico" (camouflage) is only part of the pioneering Italian camouflage cloth telo mimetico on the frame, as part of his Arte Povera program. Ian Hamilton Finlay's 1973 Arcadia is a sketch of a tank disguised with leaves, "an ironic parallel between the idea of ​​natural paradise and the camouflage pattern of the tank", as illustrated by the Tate Collection. Veruschka, pseudonym Vera von Lehndorff and Holger TrÃÆ'¼lzsch, created "Nature, Signs & Animals" and "Mimicry-Dress-Art" in 1970-73. Thomas Hirschhorn created Utopia: One World, One War, One Army, One Dress in 2005.
Demonstrators and war fashionista
In the United States in the 1960s, military clothing became increasingly common (mostly olive knits rather than patterned camouflage); it is often found worn by anti-war demonstrators, initially in groups such as Vietnam Veterans Against the War but later increasingly widespread as a symbol of political protest.
Fashion often uses camouflage as inspiration - attracted by flashy designs, camouflage patterns, symbolism (to celebrate or subvert), and flexibility. The early designers included Marimekko (1960s), Jean-Charles de Castelbajac (1975-), Stephen Sprouse (using Warhol prints, 1987-1988), and Franco Moschino (1986), but it was not until the 1990s that camouflage became significant and side widespread clothing from streetwear to high fashion labels - especially the use of "faux-camouflage". Producers who used camouflage in the 1990s and beyond include: John Galliano for Christian Dior, Marc Jacobs for Louis Vuitton, Comme des GarÃÆ'§ons, Chanel, Tommy Hilfiger, Dolce & amp; Gabbana, Issey Miyake, Armani, Yves Saint-Laurent.
Companies closely associated with camouflage patterns include 6876, Bathe Monkeys, Pulau Batu, StÃÆ'¼ssy, Maharishi, mhi, York Zoo, Addict, and Girbaud, using and printing more than original military surplus fabrics; others use camouflage patterns with bright colors like pink or purple. Some, such as Emma Lundgren and StÃÆ'¼ssy, have created their own designs or unified camouflage patterns with other symbols.
Restrictions
Some countries such as Barbados, Aruba, and other Caribbean countries have laws that prohibit camouflage clothing worn by non-military personnel, including tourists and children. Civil ownership of camouflage is still banned in Zimbabwe.
See also
- Camouflage (film 1944) , a World War II camouflage training film produced by the US Air Force Air Force
Note
References
Source
External links
- "Abbott Thayer Camouflage Demonstration: Shock Improvement, Disorder, and Background Image"
- Shipcamouflage.com
- Roy R. Behrens - Art and Camouflage: Annotated Bibliography
- Guy Hartcup - Camouflage: History of Concealment and Fraud in War (1980)
- War II World War II FM 5-20B War Guide: Vehicle Camouflage (1944)
- Patterns versus
- Camouflage paint colors
Source of the article : Wikipedia
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