Brooklyn Museum Quarterly . ckay, Camoufleur of the Second Xaval District, pioneerand most successful exponent of the art in America, tlieJosephs coat of a ship painted with correct proportions ufred, green, and violet will respond to light changes as noflat tone will. Battleship gray is made from pigments whichhave no color, black and Avliite; the gray is made on the boatand carried to the eye in mixed paint. As it cannot changeits color it will never quite fit its surroundings. The advan-tage of putting on separate sections of red, green and violetis that, if the source of illuminations beco
Brooklyn Museum Quarterly . ckay, Camoufleur of the Second Xaval District, pioneerand most successful exponent of the art in America, tlieJosephs coat of a ship painted with correct proportions ufred, green, and violet will respond to light changes as noflat tone will. Battleship gray is made from pigments whichhave no color, black and Avliite; the gray is made on the boatand carried to the eye in mixed paint. As it cannot changeits color it will never quite fit its surroundings. The advan-tage of putting on separate sections of red, green and violetis that, if the source of illuminations becomes warm, the redwill count and the gray will be a warm gray. If the lightbecomes cool the red will go down and the green and violetwill come up. The so-called dazzle systems of camouflage, wliiclihave been used both in place of low-visibility painting and incombination Avith it, aim to make a vessel unhittablerather than invisible. The early British dazzle schemewas based frankly upon the assumption that invisibility at 44.
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Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookidbrooklynmuseumqu46broouof
