M1929 Telo mimetico ( Italian : camouflage cloth ) was a military camouflage pattern used by the Italian Army for shelter-halves ( telo tenda ) and later for uniforms for much of the 20th century. Being first issued in 1929 and only fully discontinued in the early 1990s, it has the distinction of being the first printed camouflage pattern for general issue, and the camouflage pattern in longest continuous use in the world.
16-679: ESTDCU ( EST onian D igital C amo U niform) is the Estonian version of the digital camouflage uniform. The camouflage pattern was developed by Andres Lüll on contract with the Logistics Center of the Estonian Defence Forces . The first set of test uniforms was introduced in 2005. ESTDCU was adopted in the EDF by 2006. The ESTDCU has an extreme likeness to Canadian military 's CADPAT . Digital camouflage Multi-scale camouflage
32-511: A computer. Further, not all pixellated patterns work at different scales, so being pixellated or digital does not of itself guarantee improved performance. The first standardized pattern to be issued was the single-scale Italian telo mimetico . The root of the modern multi-scale camouflage patterns can be traced back to 1930s experiments in Europe for the German and Soviet armies. This was followed by
48-563: A range of scales. In 1976, Timothy O'Neill created a pixellated pattern named "Dual-Tex". He called the digital approach "texture match". The initial work was done by hand on a retired M113 armoured personnel carrier ; O'Neill painted the pattern on with a 2-inch (5.1 cm) roller, forming squares of colour by hand. Field testing showed that the result was good compared to the U. S. Army's existing camouflage patterns , and O'Neill went on to become an instructor and camouflage researcher at West Point military academy. By 2000, development
64-495: Is a type of military camouflage combining patterns at two or more scales, often (though not necessarily) with a digital camouflage pattern created with computer assistance. The function is to provide camouflage over a range of distances, or equivalently over a range of scales (scale-invariant camouflage), in the manner of fractals , so some approaches are called fractal camouflage . Not all multiscale patterns are composed of rectangular pixels , even if they were designed using
80-605: The Afghan Army would adopt the pattern and continue its use during the 1980s, with fabric being printed in-country and produced locally. It is possible that the whole production machinery was moved by the Germans to Czechoslovakia, laying the foundation for the country's post-war production. The pattern also has the honour of having been deemed a work of art in itself. In 1966, the Italian artist Alighiero Boetti stretched sections of
96-449: The 1st and 12th SS Panzer Divisions wearing the Italian attire along with a mix of standard issue Waffen-SS uniforms and equipment. After the Italian surrender, stocks of the Italian pattern were captured and used on other fronts. Some of it appears to have ended up in the hands of Czechoslovakian and Soviet units. In 1974, under the Republic of Afghanistan , commandos and paratroopers of
112-699: The Canadian development of the Canadian Disruptive Pattern ( CADPAT ), first issued in 2002, and then with US work which created the Marine pattern ( MARPAT ), launched between 2002 and 2004. The scale of camouflage patterns is related to their function. Large structures need larger patterns than individual soldiers to disrupt their shape. At the same time, large patterns are more effective from afar, while small scale patterns work better up close. Traditional single scale patterns work well in their optimal range from
128-777: The Italian fractal Vegetato pattern. Neither pixellation nor digitization contributes to the camouflaging effect. The pixellated style, however, simplifies design and eases printing on fabric, compared to traditional patterns. While digital patterns are becoming widespread, critics maintain that the pixellated look is a question of fashion rather than function. The design process involves trading-off different factors, including colour, contrast, and overall disruptive effect. A failure to consider all elements of pattern design tends to result in poor results. The US Army's Universal Camouflage Pattern (UCP), for example, adopted after limited testing in 2003 and 2004, performed poorly because of low pattern contrast ( isoluminance —beyond very close range,
144-401: The ability to adapt their camouflage patterns to suit the background, and they do so extremely effectively, selecting patterns that match the spatial scales of the current background. A pattern being called digital most often means that it is visibly composed of computer-generated pixels . The term is sometimes also used of computer generated patterns like the non-pixellated MultiCam and
160-506: The design looks like a field of solid light grey, failing to disrupt an object's outlines) and arbitrary colour selection, neither of which could be saved by quantizing (digitizing) the pattern geometry. The design was replaced from 2015 with the Operational Camouflage Pattern , a non-pixellated pattern. The idea of patterned camouflage extends back to the interwar period in Europe. The first printed camouflage pattern
176-542: The human visual system efficiently discriminates images that have different fractal dimension or other second-order statistics like Fourier spatial amplitude spectra; objects simply appear to pop out from the background. Timothy O'Neill helped the Marine Corps to develop first a digital pattern for vehicles, then fabric for uniforms, which had two colour schemes, one designed for woodland, one for desert. Telo mimetico Originally only printed on shelter halves ,
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#1732859065386192-415: The observer, but an observer at other distances will not see the pattern optimally. Nature itself is very often fractal , where plants and rock formations exhibit similar patterns across several magnitudes of scale. The idea behind multi-scale patterns is both to mimic the self-similarity of nature, and also to offer scale invariant or so-called fractal camouflage. Animals such as the flounder have
208-516: The pattern was not intended to be worn by soldiers though the shelter halves could be used as rain-ponchoes. From 1942, the printed fabric was also used for smocks for the Italian paratroopers . At some point before the outbreak of the Second World War , the pattern was changed, possibly to accommodate printing with smaller rolls. It was scaled down and compressed slightly lengthwise, but otherwise kept
224-506: The shapes and colours of the first production. The pattern varied with time, the colours becoming brighter while the print became less crisp. The pattern was continued into the 1990s, when it was replaced by a pattern based on US Woodland . In 1944, telo mimetico was adopted by the Germans and distributed to Waffen-SS units operating in Italy and Normandy during the spring and summer of 1944. Most frequently published photos show members of
240-799: Was the 1929 Italian telo mimetico , which used irregular areas of three colours at a single scale. During the Second World War, Johann Georg Otto Schick designed a series of patterns such as Platanenmuster (plane tree pattern) and Erbsenmuster (pea-dot pattern) for the Waffen-SS , combining micro- and macro-patterns in one scheme. Pixel-like shapes pre-date computer-aided design by many years, already being used in Soviet Union experiments with camouflage patterns, such as "TTsMKK" developed in 1944 or 1945. The pattern uses areas of olive green, sand, and black running together in broken patches at
256-867: Was underway to create pixellated camouflage patterns for combat uniforms like the Canadian Forces ' CADPAT , which was developed in 1997 and later issued in 2002, and then the US Marines' MARPAT , rolled out between 2002 and 2004. The CADPAT and MARPAT patterns were somewhat self-similar (in the manner of fractals and patterns in nature such as vegetation), designed to work at two different scales. A genuinely fractal pattern would be statistically similar at all scales. A target camouflaged with MARPAT takes about 2.5 times longer to detect than older NATO camouflage which worked at only one scale, while recognition, which begins after detection, took 20 percent longer than with older camouflage. Fractal-like patterns work because
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