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On land, artists such as André Mare designed camouflage schemes and observation posts disguised as trees.
At sea, merchant ships and troop carriers were painted in dazzle patterns that were highly visible, but designed to confuse enemy submarines as to the target's speed, range, and heading.
Two Napoleonic War skirmishing units of the British Army, the 95th Rifle Regiment and the 60th Rifle Regiment, were the first to adopt camouflage in the form of a rifle green jacket, while the Line regiments continued to wear scarlet tunics.
The English zoologist John Graham Kerr, artist Solomon J.
was at that time considered to be the main method of camouflage, as when Frank Evers Beddard wrote in 1892 that "tree-frequenting animals are often green in colour.
Among vertebrates numerous species of parrots, iguanas, tree-frogs, and the green tree-snake are examples".
Solomon and the American artist Abbott Thayer led attempts to introduce scientific principles of countershading and disruptive patterning into military camouflage, with limited success.
In the 20th century, military camouflage developed rapidly, especially during the First World War.
Examples include the leopard's spotted coat, the battledress of a modern soldier, and the leaf-mimic katydid's wings.
A third approach, motion dazzle, confuses the observer with a conspicuous pattern, making the object visible but momentarily harder to locate.
Camouflage themes recur in modern art, and both figuratively and literally in science fiction and works of literature.
features such as camouflage evolved by providing individual animals with a reproductive advantage, enabling them to leave more offspring, on average, than other members of the same species.
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The development of military camouflage was driven by the increasing range and accuracy of infantry firearms in the 19th century.