While researching the previous post on Dazzle Ships I came across the artwork of UK native Kristian Goddard. He offers some additional insight into dazzle camouflage and shares all of his multi-media talents. Check his stuff out here
I've just finished the second in a series of dazzle camouflage canvases. The painting measures 60" x 40" and was created with acrylic paint on canvas. This composition is based on a detail of a dazzle ship photograph by Allie Wojtaszek. The colours derive from original dazzle ship drawings that illustrate this post. In a perfect world I would be happy to keep working on dazzle camouflage paintings for the rest of my life! I love the modernist nature of the patterns and the use of colour, which seems very much of its time. Painting is one of the best reminders we have that the past actually did exist in colour so it's fun to be able to work with a colour palette that existed nearly one hundred years ago. I seem to be getting more and more obsessed with dazzle ships and their history after working on these recent canvases and researching the subject. Dazzle ships are quite a romantic notion to me and the idea of beautifully coloured ships floating over the water in the dark is the sort of warm thought that puts me to sleep at night.
There are many ways that
pattern-based camouflage has been used, but none are as bizarre as the
British dazzle ship designs of World War I and, to a lesser degree,
World War II. These were abstract, clashing geometric decorative designs
that were applied to battleships in order to confuse viewers,
particularly German U-boats, using optical range finders. Although
dazzle paintwork is sometimes described as camouflage, it actually
wasn’t intended to hide anything in the way regular camouflage does.
Instead, it made it difficult to determine important aspects such as
shape, distance, speed, and direction.
The development of radar
in the 1940s made dazzle ship graphics less relevant, but it still crops
up here and there. In Austria, speed traps have been camouflaged with
dazzle to confuse drivers as to the direction the radar is pointing.
Many car prototypes also wear dazzle camouflage during testing to hide
the "curves" of the vehicle before the manufacturer is ready to show it
to the public. The USS North Carolina is still in dry dock in Willmington, where Blue Velvet was shot, so I hope to be able to take a day trip there soon!
Peter Saville famously used Edward Wadsworth's 1919 painting Dazzle Ships In Drydock At Liverpool (shown above) as the inspiration for the Orchestral Manoeuvres in the Dark Dazzle Ships
album cover. The original is in the National Gallery of Canada. Peter
Saville and Malcolm Garrett of Assorted iMaGes both made their careers
by brilliantly reinventing the past during the 80s, producing album
covers for Joy Division, New Order, Buzzcocks, Duran Duran, OMD, and
Peter Gabriel, amongst others. The original vinyl version of Dazzle Ships
uses Peter Saville's distinctive design on the gatefold cover and an
information graphic on the inner by Malcolm Garrett. The compact disc
re-release uses the same imagery with a completely different colour
scheme.
Its very difficult to find
colour images of the original WWI designs, but they typically used red,
green, yellow, and purple, lavender and mauve greys, and black and
white. The underlying principles are diagonals, zig-zags, and arcs,
combined using sudden changes in the patterns at seemingly random points
used to give impressions of different planes or facets on flat surfaces
to break up physical lines and shapes. The patterns make it difficult
for onlookers to determine which direction the ship is heading. Razzle
dazzle deception uses abstractions to cloak the activities of movement
by seemingly creating more movement.
War has inspired many
great artistic moments but artists very rarely return the favour. During
World War I, Modernism turned naval fleets into the largest painting
canvases in the world. German U-boats were sinking enormous numbers of
ships and there was no really effective defense against them. Most
camouflage is based on the idea of concealment and blending in with its
surroundings. However, another school of thought has argued for making
the item in question appear to be a mash-up of unrelated components.
Naval camoufleurs found this theory particularly appealing. Blending
didn’t work because ships operated in two different and constantly
changing color environments – sea and sky. Any camouflage that concealed
in one environment was usually spectacularly conspicuous in others.
There was very little method in the mass of triangles, parallelograms,
and stripes of these colors, but they had certainly been scientifically
designed to secure the effect sought for.
Military historians have
often erroneously connected razzle dazzle with Cubism. The dazzle
concept was invented in 1916 by Norman Wilkinson, a British marine
painter and naval commander who took inspiration from Cubist and
Vorticist paintings. The Vorticists were the English equivalent of the
Italian Futurists, and Edward Wadsworth, a leading Vorticist artist,
supervised much of this dazzle ship work, overseeing the camouflage of
more than two thousand war ships. Razzle dazzle is quite clearly
inspired by Vorticism, which is probably the only significant British
art movement of the early 20th century, started by Wyndham Lewis, editor
of the brilliant but short-lived Blast magazine. Picasso is
reported to have taken credit for the modern camouflage experiments,
which seemed to him a quintessentially Cubist technique. He is reported
to have drawn the connection in a conversation with Gertrude Stein
shortly after he first saw a painted cannon trundling through the
streets of Paris. However, Cubism was far more concerned with apples,
guitars, and life in the cafe while Vorticism was not afraid of looking
outside the cafe and observing the architecture surrounding it. Also,
there was a hint of aggression, conflict, and Brutalism in most
Vorticist works that is entirely missing in French work. Vorticist works
are characterised by the unease created by a disrupted perspective,
which is a perfect metaphor for dazzle camouflage.
Wilkinson believed that
breaking up a ship’s silhouette with brightly contrasting geometric
designs would make it harder for U-boat captains to determine the ship’s
course. While there was a marked decrease in losses to U-boats,
historians agree that this reduction was mainly due to the adoption of
the convoy system at the same time. Dazzle did, however, boost the
morale of allied seamen as well as capture the imagination of artists
and the public alike. All British patterns were different, first tested
on small wooden models viewed through a periscope in a studio. Most of
the model designs were painted by women from London's Royal Academy of
Arts. A foreman then scaled up their designs for the real thing.
Creative people including sculptors, artists, and set designers also
designed camouflage.
An observer would find it
difficult to know exactly whether the stern or the bow is in view; and
it would be equally difficult to estimate whether the observed vessel is
moving towards or away from the observer's position. Range finders were
based on the coincidence principle with an optical mechanism, operated
by a human to compute the range. Dazzle was intended to make that hard
because clashing patterns looked abnormal even when the two halves were
aligned. As an additional feature, the dazzle pattern usually included a
false bow wave intended to make estimation of the ship's speed
difficult. This led to more scientific studies of colour options which
might enhance camouflage effectiveness. Broken colour systems which
present units so small as to be essentially invisible at the distances
considered are neither advantageous nor detrimental to the dazzle
effect; the visibility of the camouflaged vessel at a given distance
would depend entirely upon such scientifically measurable factors as the
mean effective reflection factor, hue, and saturation of the surface
when considered at various distances.
American naval leadership
thought dazzle effective and, in 1918, the U.S. Navy adopted it as one
of several of their techniques. However effective the scheme was in
World War I, dazzle camouflage became less useful as rangefinders and
especially aircraft became more advanced, and, by the time it was put to
use again in World War II, radar had further reduced its effectiveness.
The U.S. Navy implemented a camouflage painting program in World War
II, and applied it to many ship classes which were in use until the end
of the war. As far as I know dazzle camouflage was never used on any
submarines.
The British Royal Navy
dazzle paint schemes also reappeared in January 1940; these were
unofficial and competitions were often held between ships for the best
camouflage patterns. The Royal Navy Camouflage Department came up with a
scheme devised by wildlife artist Peter Scott, and developed it into
the Western Approaches Schemes. The German Navy first used camouflage in
the 1940 Norwegian campaign. A wide range of patterns were authorised,
but most commonly black and white diagonal stripes were used. Most
patterns were designed to hide ships in harbour or near the coast; they
were often painted over with plain grey when operating in the Atlantic.
At first glance, dazzle
seems an unlikely form of camouflage, drawing attention to the ship
rather than hiding it. However, dazzle did not conceal the ship but made
it difficult for the enemy to estimate its type, size, speed, and
heading. The idea was to disrupt the visual rangefinders used for naval
artillery. Its purpose was confusion rather than concealment. The artist
Abbott Handerson Thayer did carry out an experiment on dazzle
camouflage, but it failed to show any reliable advantage of dazzle over
plain paintwork. In a 1919 lecture, Norman Wilkinson explained: "The
primary object of this scheme was not so much to cause the enemy to miss
his shot when actually in firing position, but to mislead him, when the
ship was first sighted, as to the correct position to take up. Dazzle
is method to produce an effect by paint in such a way that all accepted
forms of a ship are broken up by masses of strongly contrasted colour,
consequently making it a matter of difficulty for a submarine to decide
on the exact course of the vessel to be attacked. When making a design
for a vessel, vertical lines were largely avoided. Sloping lines, curves
and stripes are by far the best and give greater distortion."
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