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WAR DEPARTMENT FIELD MANUAL
CORPS OF ENGINEERS
CAMOUFLAGE OF
INDIVIDUALS AND
INFANTRY WEAPONS
WAR DEPARTMENT • FEBRUARY 1944
MANUALS IN THE FM 5-20 SERIES
FM 5-20 Camouflage, Basic Principles
FM 5-20 A Camouflage of Individuals
and Infantry Weapons
FM 5-20 B Camouflage of Vehicles
FM 5-20 C Camouflage of Bivouacs,
Command Posts, Supply
Points, and Medical Installa-
tions
FM 5-20 D Camouflage of Field Artil-
lery
FM 5-20 E Camouflage of Aircraft on
the Ground and Airdromes
FM 5-20 F Camouflage of Antiaircraft
Artillery
FM 5-20 G Camouflage of Rear Areas
and Fixed Fortifications
FM 5-20 H Camouflage Materials and
Manufacturing Techniques
WAR DEPARTMENT FIELD MANUAL
FM 5-20 A
CORPS OF ENGINEERS
CAMOUFLAGE OF
INDIVIDUALS AND
INFANTRY WEAPONS
WAR DEPARTMENT • FEBRUARY 19 4 4
MHSM0SBBI DISSEMINATION OF mmmmamm MATTER.
— The information contained in restricted documents and the essential
characteristics of restricted material may be given to any person known
to be in the service of the United States and to persons of undoubted
loyalty and discretion who are cooperating in Government work, but will
not be communicated to the public or to the press except by authorized
military public relations agencies. ( See also par. 18b, AR 380-5, 28 Sep 1942.)
United States Government Printing Office
Washington: 1944
CONTENTS
This manual supersedes para- , . \ [ -''
graph 30, FM 5-20, 1 June 1940. c -
Port I t d ^' "
Check List 1
You Are the Target 3
Helmet Camouflage 6
Skin Tonedown 8
Shine 10
Canvas Equipment 12
Camouflage Clothing 14
Blending with your Background 18
Shadows 24
Action at Night • 28
In Snow Country 30
Movement 32
Camouflage Discipline 34
Port II
Foxholes 36
Machine Guns 40
Mortars 52
Antitank Guns 58
WAR DEPARTMENT,
Washington 25, D. C, 9 February 1944.
FM 5-20A, Corps of Engineers Field Manual, Camouflage of
Individuals and Infantry Weapons, is published for the information
and guidance of all concerned.
[A.G. 300.7 (14 Aug 43).]
By order of the Secretary of War:
G. C. MARSHALL,
Official: Chief of Staff.
J. A. ULIO,
Major General,
The Adjutant General.
Distribution:
R and H (5) ; R (4) ; Bn (4) ; C 1-4, 8-11, 19, 35, 44, 55
(2) ; C 5, 6, 7, 17, 18 (4) ; IBN 5 (100)
(For explanation of distribution symbols see FM 21-6.)
C H ECK LIST
INDIVIDUAL (watch form, shadow, texture, color) .
a. Prepare individual equipment in the following order:
(1) Helmet (break form, color, shine; keep garnishing short).
(2) Face and hands (darken, disrupt). >
(3) Weapons (disrupt) .
(4) Shine (darken, conceal, remove).
(5) Canvas equipment (darken). i
(6) Camouflage clothes, body nets (where necessary; especially patrols,
observers, covering parties).
b. Choose position carefully for:
(1) Fire mission (field of fire, observation, communications) .
(2) Other factors (concealment, cover, obstacles) .
c. Consider enemy viewpoint (ground and air; enemy is alert).
d. . Use natural "concealment (terrain features, darkness, mist, shadow) .
e. Blend with background.
(1) Silhouette (avoid becoming one) .
(2) Shadows (use them, do not make- them) .
f. Avoid careless movement.
(1) Move by bounds between good concealed fire positions.
(2) Move swiftly or crawl very slowly (when forced to).
(3) Select time and place of movement that enemy will least notice.
(4) Use concealed routes, buildings of all kinds, burned-out places,
gorges, defiles, cliffs, embankments, caves, hollows, ditches, hedges,
edges of woods with undergrowth, fence lines, terrain irregulari-
ties which contain usable shadows. Keep off roads and paths.
(5) Avoid landmarks, lone trees and rocks, fence corners, light ground,
edges of woods with no undergrowth, all targets in silhouette.
g. Camouflage discipline.
(1) Maintain camouflage.
(2) Carelessness may reveal the team (move quietly, watch banging
equipment) .
(3) Don't look up at planes.
(4) Don't walk or drive in open; make no unnecessary tracks.
(5) Disperse on march and in bivouac.
(6) At halts during a march, disperse and take cover.
(7) Don't throw newspapers, boxes, ration tins, or cans in the open.
(8) Don't use open flashlights or matches in a combat area at night.
(9) In sudden enemy light, stop moving, or drop.
FOXHOLES
a. Choice of position. d. Tracks.
b. Natural concealment. e. Spoil and concealment.
c. Background. f. Covers.
SHELTER TENTS
a. Strike or cover front. b. Don't pitch in daytime.
WEAPONS
a. Know how flat-top garnishing different backgrounds,
works. c. Know how to erect net easily,
b. Know how to blend nets with quickly, properly.
Figure 2.
YOU ARE THE TARGET
Individual camouflage is the concealment a soldier uses in combat
to surprise, deceive, and outwit the enemy.
The ground is the soldier's observation post, jump-off point for
attack, route of- advance and communication, fortification, protection,
and obstacle. He must know how to use the ground for effective con-
cealment. He adapts his dress for best concealment while in the firing
positions and for mobility, and carefully selects his routes between
positions for such concealment as is possible while he is in motion.
Interruptions, crawling (very slow) and running (very fast), aid
concealment of motion.
The simple principles in this book have been battle tested. If the
soldier learns and practices them continuously in training, he will
know what to do about concealment at the right time in battle.
Figure 4.
ENEMY OBSERVATION
Camouflage activities of the individual are designed to deceive two
kinds of enemy observers — ground and air. The above photograph
shows a ground observer's view of a landmg operation. We are all
familiar with views from the ground, but views from the air are
different. Many things that are invisible from the ground can be
seen from the air. In modern war, the enemy puts much reliance on
aerial photographs for information about our activities and our inten-
tions. The more they reveal to him, the better prepared he will be,
and the harder to defeat.
By becoming familiar with the different look of things from the
ground and from the air, by study of the ground view, and by
studying aerial photographs, you can learn how to guard yourself
and your unit against both kinds of observation. Bear in mind, too,
that hostile observers both on the ground and in the air may use
field glasses, telescopes, and cameras equipped with special lenses
to increase their range of vision.
CONCEALMENT DEPENDS ON-
Effective concealment of the individual depends primarily on back-
ground — your choice of it, and your knowledge of how to employ
it to your advantage.
Background is your surroundings seen from the ground and from
the air. They may be anywhere — a portion of a jungle; an area in
a barren, rocky desert; a farmyard; or a city street.
Background is the controlling element in individual concealment.
It governs every camouflage measure taken by the individual. You
wear clothes which blend with the predominant color of the back-
ground, and tone down the color of your skin and your equipment
for the same purpose. You practice blending with your background
by hiding in shadow and by avoiding contrast between your silhouette
and the background. You avoid movement which the stillness of
the Background will emphasize. To keep the appearance of the
background free of signs which point to the presence of military per-
sonnel, you follow concealed routes; and you conceal spoil, tracks,
equipment, and installations.
This book tells how you — the individual soldier — can conceal your-
self. In the illustrations, background, movement, signs of activity,
and dress are inseparably connected, just as they are on the battle-
field. Each, soldier must be aware of them every moment of the day.
Figure 6.
Figure 7.
HELMET CAMOUFLAGE
The outline of your helmet is one of the striking characteristics of
a soldier's equipment. Its curved, familiar shape can be identified by
the enemy. One of your first steps in preparing for the job of stay-
ing alive to fight is to disrupt both the form of your helmet and the
strong, straight-lined shadow it casts. Here are six ways of dis-
rupting its form, all of which, except A, will reduce its shine at the
same time.
A uses a disruptive paint pattern on the helmet. Take care to carry
the pattern across the curved lines of the edges, especially those seen
from the front. Besides ordinary non-glossy paint, liquid vesicant
chemical agent detector, M5, can be applied to the helmet in a mot-
tled pattern to give two kinds of protection at once. Under condi-
tions of great heat or extremely rough handling, it may be necessary
to renew this paint each week.
B uses a strip of burlap or osnaburg around the base of the hel-
met. Foliage can be slipped into the band and held in place. Do not
use too much foliage. Do not place the band too high.
C uses the same principle as B, but here the issue rubber band
is used.
D shows a helmet covered with a mesh helmet net. By itself, this
net aids in toning down the helmet and eliminating some of the
shine, but the shape of the helmet is still there.
E shows the helmet net put to better use. Foliage has been inserted
in the mesh. It is held securely and can be quickly replaced with
fresh materials when the old materials wilt and change color. The
main point is to break up the shape of the helmet with short natural
material which will not readily catch in surroundings and which will
not disclose the head when it is moved slightly.
F is an improvised helmet cover made of a circular piece of osna-
burg, burlap, or other cloth, 20 inches in diameter. A 1-inch hem
is sewn around the edges, a tape or drawstring is pulled through it,
and the whole thing is pulled tightly onto the helmet. It is painted
to break up the solid color. Slits 2 inches wide have been cut in it
to allow for the insertion of foliage.
No matter what kind of helmet camouflage you use, it is incom-
plete if the shadow underneath the helmet is not broken up by
arranging the bits of foliage so that pieces of it hang over the rim
of the helmet. Small irregular pieces of cloth, similarly arranged,
will accomplish the same purpose.
SKIN TONEDOWN
Your face is light in color and. like your
canvas equipment, is a beacon to the
enemy observer — who usually has the
sighting end of a rifle at his eye. Color
your face, neck, and hands tn pet rid
of that light tone (hg 8). Gloves may
be worn. Coloring may be done by
painting them in a disruptive pattern
(fig. 9), or it may be done by toning
them down in an even color (fig. 10).
FlCiUKE 10.
On the face, disruptive patterns should
cut across the nose line, cheek bones, eye
sockets, and chin lines.
Lampblack, burnt cork, or just plain
mud can be used as toning materials.
Some soils contain harmful bacteria and
should not be used in mud form to
darken the face unless a medical officer
has determined that they are safe to use.
A mesh mosquito face net (B-g, 11),
properly toned down, is an effective
method (if breaking up the outlines of
the face. Such a net can be dyed in
strong coffee or in an issue dye.
Figure 11.
Figure 12.
WEAPON TONEDOWN
Even your weapons need some attention in the way of camouflage.
The outline of the rifle or carbine is easily recognized. It may be
painted properly under the supervision of an officer or noncommis-
sioned officer, or it may be wound with tape or cloth of a grayed
color to disrupt its outline. Leaves or other natural material wrapped
with tire tape are effective. The bayonet can be toned down with mud.
When camouflaged by painting, weapons and equipment must be
darker than surroundings. Flat surfaces are roughened by adding
sand to prevent shine.
^BMliillllilliiiilll
SHINY OBJECTS
The reflection from a brightly shining object is a common giveaway.
All shining articles should be concealed. Put your watch and shiny
rings in your pocket, and keep that bright mess kit out of sight when
you are not using it. Note the shine on the helmet.
10
CANVAS
EQUIPMENT
Figure 13 © and @.
Clean canvas equipment is cor-
rect for inspections, but in com-
bat zones such equipment is an
invitation to a bullet. In motion,
light-color patches are easy to
spot. One of your first jobs in
dressing for the job of fighting
is to tone down (darken) the
color of your canvas equipment.
It can be done with paint, mud,
charcoal, or anything else which
will make the tone of the can-
vas about the same as the rest
of your clothes. To color canvas
to match the OD uniform, use
OQMG No. 3, Compound for
Coloring Web Equipment.
RIGHT
With the same materials, tone down (darken) the color of your
pack, cartridge belt, canteen cover, leggings, and shelter half. The
pictures on this page illustrate the difference such coloring makes.
In figure 14 © the soldier almost blends with the background, but
those bright canvas articles stand out in the picture; they make excel-
lent aiming points.
In figure 14 © the soldier has darkened his canvas equipment.
He is harder to see; the familiar outlines of his canvas equipment
no longer stand out to the enemy observer.
Figure 14 © and ©.
FlGUKK 15.
CAMOUFLAGE CLOTHING
Individual concealment is mostly a matter of using your head and
the materials at hand. This applies to camouflage clothing as well.
When issue camouflage clothing is unavailable, the soldier makes
his own, suiting its form and color to the terrain. Here one soldier is
painting another's green twill fatigue uniform. A brush is not neces-
sary. A dauber made with a wad of cloth on the end of a stick
wil! do. Another method is to stamp the pattern on the cloth with
a block of wood dipped in paint. Hut even paint itself is not essen-
tial. Any coloring material may be used — dye, black crankcase drip-
pings, or even a mixture of mud and cup grease. The important thing
is to make your clothes look less like a soldier's uniform and more
like the terrain in which you will move.
However, a soldier is not invisible simply because he wears a
camouflaged suit. The suit is just the beginning of the concealment job.
It makes it easier for you to conceal yourself — but it makes it easier
only if you know the other principles of individual concealment.
14
Figure 16, — Care-
ful analysis of the
background, before
painting, produced
these examples of
camouflage suits im-
provised by a unit
for use by observers
and snipers in spe-
cial terrain. A gray,
rocky landscape sug-
gests a snake pattern
applied on fatigues
dyed a light color.
Figure 17, — A dif-
ferent pattern is
needed to blend this
soldier with an area
in a desert. Its ir-
regular lines resem-
ble the concealing
pattern on the back
of a turtle.
1*7
A.
Figure IS. — In
broken rocky coun-
try, this mottled pat-
tern is effective con-
cealment from en-
emy observation,
ground and air. The
soldier stays close to
the objects with
which he is blended.
Such patterns are
conspicuous when
moving or against
■ V -
Figure 19.
FIGHTING CLOTHES
The issue uniforms are carefully designed to blend with a wide
variety of surroundings under average conditions. For fighting at
close ranges, special measures may be taken.
JUNGLE SUITS
The above soldier is wearing the jungle-patterned suit formerly
issued by the Army, on request of a rheatc r-of -o pc rati on s commander,
to troops engaged in jungle warfare. Its mottled pattern blends
with the green foliage, and the outline of the soldier and his equip-
ment melt into the background. The cloth cover which fits over
the helmet has loops into which sprigs of foliage can be fitted to
increase concealment. Wear the suit with caution, however, in ex-
tremely dark sections of a jungle because in this case the lightest
colors in the pattern are especially noticeable during movement.
16
The reverse side of the jungle suit is shown in figure 20. It is
colored dark OD, which is the predominant color of jungle buck-
grounds.
SNOW SUITS
For use in arctic country, the Army issues a snow suit, a two-piece
garment, plain white, designed to blend with a white or mottled
white- and-black background. Ssow country isn't all white. There is
some black in it; shadows and dark objects appear darker than usual.
The suit cannot conceal the small patches of shadow which surround
the human figure, but that is not necessary if the background, too,
contains numerous dark spots.
CAMOUFLAGE CLOTHES AND THE TERRAIN
Pages 6 to 17 tell you how to go about dressing for the job of fight-
ing. You won't always have time to do all the things that are
mentioned, but you must find time to do the most important ones
for the job at hand. The usual order of importance is from the top
of the head down; that is, from the most frequently exposed parts
of the body' to the least frequently exposed parts. This will make the
job of concealing yourself easier and the enemy's job of finding you
harder, and they are worth every bit of time you can give them.
Remember, though, that camouflage clothing and equipment alone
won't conceal you; they must be used intelligently in accordance
with the principles of scouting and patrolling (FM 21-45 and FM
21-100).
The rest of this book shows you how to use the terrain, how to
move in it, how to make it work for you. With camouflaged equip-
ment you are ready to make the most of the terrain.
BLENDING WITH
YOUR BACKGROUND
Losing your silhouette in the silhouettes of things in the background
and making use of the shadows in the background — no matter how
small they are— are the primary means of blending yourself with your
background. Be constantly aware of these two factors, silhouette
and shadow.
From a concealment point of view, backgrounds consist of ter-
rain, vegetation, man-made objects, sunlight and shadows, and color.
The terrain may be flat and smooth or it may be wrinkled with
gullies, mounds, or rock outcrops. Vegetation may be dense or
nothing but little patches of measly scrub growth. The size of man-
made objects may range from a sign post to a whole city street. There
may be many colors in a single background, and they may vary
from the almost black of a deep woods to the sand pink of some
desert valleys.
Blending with your background means simply to match as many
of these things as you can and to avoid all those with which you are
in contrast. Remember, too, that your background is fixed. It cannot
move with you. Whenever you move quickly against your back- '
ground; you no longer match it. It is an easy way of attracting atten-
tion to yourself.
Figure 23 © and @.
SILHOUETTE
The soldier in figure 23 ®
may think he blends with the
ground ■ — ■ and he does. But
look at his sharp silhouette
against the bright river. Stay
off such clearly defined edges.
The correct way to look over
the bank is with good back-
ground both before and be-
hind you (fig. 23 ©). The
enemy is no respecter of po-
sition. He won't stay in front
of you to oblige you. Assume
he is everywhere. Don't give
him an opening like this.
Avoid bright backgrounds
of all kinds (fig. 24), espe-
cially when such backgrounds
are unbroken by shadows and
dark objects. In the same
way, when you are in a light-
colored uniform, avoid con-
trast with dark, shadowed ob-
jects (fig. 25). If you must
be revealed against a contrast-
ing background, be aware of
it, and be there for the short-
est possible time. Select your
next point of concealment in
advance and get there as
quickly as you can.
Figure 25.
21
The soldier below has forgotten the first principle of conceal-
ment — background. He has foliage in his helmet, true enough, but
it isn't anything like what is behind him. This doesn't conceal any-
thing. It attracts the attention of "the enemy.
Figure 26.
In street fighting, hug piles of debris which contain shadows. Stay
on the shady side of such objects, and in the general disorder of
an area like that in figure 27 you can stay hidden easily. In a rubble-
strewn area, the thing which gives you away is movement. When
you are forced to move, do it on the double.
Before firing, be sure your position won't raise dust and give you
away. If you shoot from within a house, take a position that will
raise as little dust as possible.
Figure 28 is a battlefield example of how to use natural materials.
How many camouflaged soldiers do you find here? To fight beside
these haystacks, the soldiers removed the foliage they used in the
surrounding area and stuffed straw into their clothing and hel-
mets. Now they melt into the haystacks, and an enemy will have a
difficult time finding his target. Only the firearms are conspicuous.
Figure 27.
Figure 28.
Figure 2y.
SHADOWS
Shadows are part of every background. You can make them work
for you if you know how to use diem. Thev will work against you
if you are careless or thoughtless.
When you observe from within buildings, as shown above, stand
well back from the opening. Stay in the shadow. Your field of vision
is more limited, but you will remain unseen.
24
4
Figure 30.
When you observe, take care not to break the regular outline of
a wall or building. Stay close to them and observe from near the
junction of wall and wall, or wall and ground. In figure 30, the
observer on the roof peak is unwisely exposed; note how inconspic-
uous is the observer in the shadow of the chimney.
Shadows of cuts and ditches (fig. 31) offer concealment during
movement.
Heavy shadows (fig. 32) offer the best concealment when moving.
This is especially true when you are subject to aerial observation.
Figure 31. Figure 32.
25
Figure 33 Q.
Where there are clear expanses of unbroken ground, shadows are
definite and revealing signs. Notice, in these figures, what stands
out most. In figure 33 © the soldier is too erect and the shadow he
casts is large and conspicuous. In figure 33 © he hugs the ground,
keeping his shadow as small as possible.
Figure 33 ©.
Once again, the soldier has forgotten his background (fig. 34).
He is in shadow, all right, but shadow doesn't conceal him when
his background beyond the shadow is light. When you must move
against an unfavorable background, stay close to the object which
casts the shadow, so that the positions from which you' can be seen
against the light are reduced; and move fast.
Figure 34.
27
Figure 35.
ACTION AT NIGHT
The night isn't a protective blanket. You can see at night. Take it
for granted that the enemy can too. Within half an hour in the dark
the eye adjusts itself fully for night vision.
As in the daytime, silhouette and background are still the vital
elements of concealment. A silhouette is always black against a night
sky (fig. 35). Be just as careful at night as in the daytime about
keeping off the skyline. If you are framed against a light road at
night, you will make a sharp silhouette. On moonlight nights, take
the same precautions as in daylight. Remember that the position of
the enemy observer, and not the topographic crest, fixes the skyline.
28
Figure 36.
At night, sound is an important, revealing signal. Move carefully
and quietly and stay close to the ground.
When a flare goes up, you must react instantly. Don't look at the
flare. It will blind you temporarily. If you hear the pop of the flare
before it bursts, drop to the ground and remain motionless. If the
flare surprises you and goes off before you are warned, freeze in
your tracks and keep your face downward (fig. 37). You may not
be noticed if you remain still. Move, and you will draw a bullet.
If you have time to move before the flare bursts, drop to the ground
even though your background is unfavorable.
Figure 38.
IN SNOW COUNTRY
Snow country is a mottled pattern of black and white more often
than it is an unbroken expanse of white. Make the dark patches
work for you by keeping close to them, as much as possible. Avoid
a background of clear unbroken snow.
Take advantage of shadows. Even where there are no wooded
areas or clumps of bushes, there are shadows made by ridges, drain-
age lines, rocks, and other terrain irregularities. Tracks are particu-
larly hard to conceal.
Figure 39.
Uniform spacing between objects or personnel and straight lines
formed by them are conspicuous in snow (fig. 39). Scatter; follow
the edges of woods; don't make tracks directly to an installation.
Hit the ground quickly in battle (fig. 40). Break up the regular
lines of your skis by throwing snow over them. A better route would
have been along a stream or fence line.
Figure 40.
Figure 41.
MOVEMENT
Choose your route carefully by day and night. Make all possible
use of screens, background, and shadow. Note Route © for day-
light. This assumes that there is fairly good undergrowth and shadow
concealment against ground observation. Under favorable circum-
stances the enemy can see as much as 100 yards into an open wood.
In this latter case, travel farther back from the edge. Woods with
medium undergrowth also furnish numerous good observation points
and cover. Heavy undergrowth is an obstacle to movement, and
where rapid movement is more important than full concealment,
movement by bounds along the outside edge and in the shadow of
the woods may be possible. Where only a hedge or fence is avail-
able, and you can do so, move in the shadow. The less growth
available, the more the necessity for crawling and running. In addi-
tion, movement over open ground is disclosed by tracks. Note Route
© for dark night. The reason for this is that it is difficult to walk
quietly in the woods at night, easier for the enemy to surprise you,
A dark night furnishes the shadow, and the route is chosen to
give you background and keep you off the skyline. Light discipline
32
is essential. On bright moonlight nights, the shadow along the edge
of the woods is probably the best route, but you lose security. Keep
in low places in the ground. In any event, your mission, ease of
movement, shadow mist, and background are contiolling factors.
Figure 42 0,
Observe from hushes !ars>e
enough to prevent you from be-
coming an obvious target — ob-
serve through or under low
branches — make movements
slowly. Be sure that no part of
your silhouette stands out
against the background.
FlGURS 42 ©.
the enemy. It is almost alwavs
possible to cross a skyline with-
out being seen by losing your
silhouette in the silhouette of
rocks, bushes, ditches, or other
things which cause irregulari-
ties in the line. You should
sprint across a skyline only when
concealment is impossible.
Creep along fence lines and
low vegetation — move slowly,
silently.
Always choose the next point
before crossing open areas.
Then sprint for it, keeping body-
low and following a zig-zag
course.
Figure 42 @.
If skyline cannot be avoided,
crawl to it — ■ approach crest
slowly, using whatever conceal-
ment there may be. How you
cross the skyline depends on
whether you are alone or with
others, on how irregular the
line, is, and on how much you
have been able to learn about
Figure 42 0.
33
Figure 43.
CAMOUFLAGE DISCIPLINE
Always remember that you are a member of a team. Camouflage
discipline is the most important part of individual camouflage be-
cause not Only you but all your buddies in the unit will have to
suiter for the mistake of one member. Concealing and maintaining
the concealment of your unit is a cooperative responsibility shared
by you and by every other individual in the unit.
From the air, such an innocent action as crossing an open field
is easily observed. Your individual foot prints show up as a light
line across such a field. Keep to existing paths in a bivouac area or
position of any kind. Stay on the terrain lines — fences, ditches,
hedgerows, roads, and paths already there. Be sure you understand
the details of the camouflage scheme for your unit, and do your
part in maintaining it.
34
Don't hang white laundry
in open places where its
bright tone can be easily
spotted. Hang it under cover
of some kind, and don't keep
it there any longer than it
takes to dry.
Your shelter tent is a char-
acteristic of the American
army. Unless you camouflage
it well, it will give away the
position, and possibly the
plans, of your whole unit.
The black triangle formed by
the interior shadow can be
seen a long way off, especial-
ly from the air. Conceal it by
striking the front tent pole
or by covering the opening
and the outline of your tent
with natural materials. Never
pitch a shelter tent in day-
light unless you are ordered
to do so.
Figure 44.
Figure 45.
REMEMBER THE PRINCIPLES
So far in this book, we have been concerned with the simpler things
that make individual concealment possible. We have stressed the
basic points of background and silhouette and shadow. You will
find yourself in numerous positions not covered specifically in this
book, but if you remember the principles we have covered, you can
meet every situation successfully. One rule must be before you at
all times. Don't relax, as long as there is a chance of your being
observed. Practice concealment every moment of your life as a sol-
dier. It will be a longer life and a safer one, and there will be
more dead enemy soldiers behind you.
Part II
FOXHOLES
Foxholes are the individual soldier's own fortified position. Such a
position deserves every bit of attention to concealment you can give
it. You are going to live in it for a time — a time during which it
will be your main protection in a battlefield. Do everything you can
to make it inconspicuous.
As always, after the demands of the military situation, back-
ground is the first consideration. Choose a place within the assigned
area where the foxhole will not change the look of the terrain.
Figure 47.
Natural concealment is best. Keep both ground and aerial observa-
tion in mind. Against ground observation, site your foxhole so that
you are not silhouetted against the sky or against a 'background of a
contrasting color (fig. 46). Against air observation, site your fox-
hole under trees or bushes or in a dark area of the terrain (fig. 47).
Make sure that your bush or tree is not isolated; a lone clump of
vegetation is a conspicuous hiding place and will draw enemy fire
whether he can see you or not. From the air, or from higher ground,
spoil around a foxhole betrays the position, (fig. 48).
SPOIL
Dispose of your spoil from the foxhole. Carry it away in sandbags
or shelter halves, if you have time. Dispose of it under low. bushes,
or dump it on dirt roads or paths, or in streams or ponds. This foxhole
is concealed from the vertical air view by overhanging branches
from a nearby tree.
If time or circumstances make it possible to dispose of spoil, cover
it with natural materials. In figure 47, these soldiers have covered
the spoil around their two-man foxhole with pine needles. This fox-
hole is sited under trees, concealed from both air and ground views.
Lines are always important in any terrain. Trenches sited along
natural ground lines such as edges of fields, intersections of hedge-
rows, fences, and cultivation patterns are difficult to distinguish. -
Figure 48.
Figure 49.
FOXHOLE COVERS
Covers for foxholes can be made to simulate tall grass (fig. 49),
bushes, and rocks, whichever the terrain calls for. They are valuable
principally against aerial observation. They are light in weight and
may be easily pushed out of the way.
The foundation of a foxhole cover is a frame (fig. 51) either flat
or rounded — shaped from short branches bound together with wire,
twine, strips of cloth, strips of woven reeds or dried grass. This
frame may be garnished with grass or natural foliage to match the
surroundings. Natural garnishing materials must be replaced before
they wilt and change color. If this is not done the position will be
in contrast to its background. Slits are left for firing.
Figure 52.
MACHINE GUNS
The machine gun is the vital weapon in both attack and defense. It
receives the closest attention of enemy troops and its concealment
must be as perfect as possible. It engages troops at comparatively close
range, it fires frequently, and the enemy will continuously try to find
and destroy the gun. Usually, machine-gun positions are hasty, ill
which case camouflage means siting to best advantage and then using
natural materials at hand. The above photograph shows a machine
gun well sited among natural materials. In the following pages are
some of the methods used to camouflage machine guns. As before
in this book, the essential factors are background and silhouette. No
position can be regarded as completely concealed, however, unless
shine, spoil, and tracks have been eliminated.
40
BACKGROUND AND SILHOUETTE
In the above figure the crew has forgotten its background ; the gun
and gunners are silhouetted. Below, the crew has taken proper action
to distort their silhouette, to blend the outline of the gun and its
crew with the background. Foliage common to the area is used, and
is placed in its natural position.
Figure 54.
Figure 55.
DEBRIS
Debris offers excellent positions for machine guns. The confused
area makes it difficult to pick up the silhouette of a gun and its
crew, especially if the position has been chosen with a good back-
ground. Figure 55 shows a well-sited, well-concealed position in
debris.
Several factors must be taken into account in such an area, how-
ever. When the gun is fired, dust may be kicked up and betray the
position to the enemy. If possible, take care to eliminate such a pos-
sibility by wetting it down. Debris is effective camouflage, but it
should be sturdy enough to resist shock and fire. Otherwise it may
collapse upon the position.
42
Also, an isolated patch of debris in a street is conspicuous. It is
an obvious place for concealment and is sure to draw enemy fire
whether he sees a gun in the position or not. Stay away from isolated
positions of concealment.
Always have an alternate concealed position chosen in case you
are required to move.
DRAPES
When the best position in the terrain is not good enough and natural
materials are insufficient for concealment, artificial materials are used.
A simple, quickly erected camouflage device is the drape, made of
shrimp net or of garnished twine net. Propped over the machine
gun to distort its shape, it is erected near natural vegetation of some
sort, with which it is "tied in'-' and blended. At close range the
nature of the camouflaged object is concealed, and from a distance
the drape itself melts into the surroundings.
Figure 56 illustrates a quickly prepared surface emplacement. The
drape is thrown over the gun and blended with surrounding vege-
tation. This takes only a few seconds, but it does an effective job.
The front of the drape has been lifted for firing the piece.
Figure 56.
Figure 57.
MACHINE GUN FLAT-TOP
The fiat- top is an answer to the problem of concealing dug-in ma-
chine-gun positions. The simple flat-top illustrated above requires
no framework. Its materials are four- posts about 2 feet long, some
No. 10 wire and a garnished 15- by 15-foot twine net.
Corner posts are not driven; they rest on the ground and are held
in place by double strands of No. 10 wire, tightened by racking.
When wire is not available for guys, tent-guy ropes will do the trick.
Corners of the net are slipped over the posts before racking. To
dismantle the flat-top, the corner posts are knocked out and the net
collapses.
The figure below shows the completed job, with natural foliage
used to break up the shadow of the gun embrasure.
Figurb 58,
Figure 59 © and ©.
Figure 59 © shows the detail of the flat-top illustrated in figures
57 and 58. Note the garnishing is thinned out at the edges; the
whole structure is as low to the ground as possible. Figure 59 ©
shows the corner posts and the manner in which they are guyed to
the ground.
This small flat-top may be made out of improvised materials as
well. Below (fig. 60) is the flat-top garnished with natural materials
— tall grass from the surrounding area. This is especially effective
in areas where wilted and dried vegetation form the background.
If background is formed of growing vegetation, the garnishing must
be changed regularly to prevent wilted materials from revealing the
installation.
Such an improvised flat-top may be made, in the absence of issue
twine net, by using tent ropes or vines to form framework.
Figure 60.
Figure 61 0.
BUGGY-TOP
For a deliberate position, especially in terrain with natural foliage,
the folding buggy-top (fig. 61 ©) conceals the machine gun which
has an antiaircraft or all-around fire mission. It can be folded back
quickly, allowing the gunners to engage aerial targets (fig. 6l ©).
When it is folded back, the whole structure lies flat on the ground.
Construction details are shown in figure 62. The frame can be
made of pipe, saplings, or lumber. Hinges are made either of No. 10
wire, stakes pivoted on a pin made of wire or a driftpin, pieces of
scrap leather, or stock door hinges.
The net is a 15- by 15-foot garnished twine net.
Take care that the vegetation around the position is not com-
pressed by the buggy-top when it is open. If the vegetation does
become damaged, steps must be taken to restore its natural appear-
ance. To complete camouflage (fig. 61 ©), small bushes must be
placed irregularly around edges of net.
47
Figure 63 ©.
SWINGING FLAT-TOP
In a deliberate position, the swinging flat-top, figure 63 ©, is a
slightly more elaborate flat-top for antiaircraft machine guns. It is a
cantilever structure hinged on a post at one corner. It is easily pushed
to one side, giving the gun an unobstructed view of the sky (fig.
63©).
It, too, uses the 15- by 15-foot garnished twine net. This flat-top
pivots on a simply constructed hinge, as illustrated in figure 64.
Although the cantilever construction demands a slight upward slope
from hinge to outer edge, to equalize tension and pressure on the
post, the whole structure should be as low to the ground as possible.
48
Figure 63 ©.
Figure 64.
49
Figure 65.
DUGOUT POSITION
Figure 65 shows a dugout machine-gun position in a battle area. It
illustrates how much concealment can be gained by a good job of
siting and the use of natural materials. The embrasure of the emplace-
ment is now conspicuous as this photograph was taken after the
Japanese position had been occupied by American troops. There is
every indication that sod and long grass were allowed to conceal the
black shadow made by the embrasure at the time that it was in use
by Japanese forces. The sod on the right of the photograph is still
well placed in accordance with accepted camouflage procedure and
effectively conceals that part of the opening. This pit was dug first
and then covered so that the silhouette of the ridge appears to have
been undisturbed. The entrance is in the rear. Sod placed over the
sandbags around the embrasure would have increased the effective-
ness of the position. The sod on the right is well placed and conceals
that part of the dugout effectively.
Figure 66 is a skillfully constructed' and camouflaged dugout-and-
sandbag machine-gun emplacement in a tropical theater of operations.
Note the low silhouette, the care in keeping the embrasure as low
and as small as possible, and the excellent use of natural materials.
Figure 66 © is the front view; figure 66 © is the rear view, show-
ing dugout entrance after natural materials have been removed
from doorway.
Figure 66 © and ©.
51
Figure 67.
MORTARS
Mortars should always be sited in defilade. Since a mortar covering
a designated target area has a wider choice of position than other
small weapons, such defilade can almost always be found, and con-
cealment from ground view is fairly easy. The aerial observer is the
enemy's principal means of discovering the position of mortars, and
the mortar must be well camouflaged against the aerial observer as
well as against the possibility of enemy flanking action.
Siting in shadows and broken ground patterns, plus intelligent use
of natural and artificial materials, offer the mortar concealment from
the air.
Figukf. 68.
A foxhole emplacement for a mortar needs camouflage. Without
camouflage, it is much easier to detect than a hasty position. In figure
69 © the crew has dug its foxholes carefully, concealed the amuni-
tion and spoil, and pulled grass in around the emplacement. Care
must be taken not to make giveaway tracks in this kind of terrain.
Figure 69 © shows what could have happened if the job were
done by a badly trained crew. This position has taken no advantage
of the characteristics of the weapon and made no provisions to con-
ceal the ammunition. Spoil from the foxholes marks the place for
aerial observation. The crew has not taken best advantage of their
position. Their equipment is not toned down; no attempt has been
made to use natural materials on their helmets ; and their faces and
hands have not been toned down.
Figure 69 @.
Figure 70.
SITING
The figures on this page show excellent choice of position and use
of existing natural concealment. The position above is in a creek bed
under a fallen tree. The men and mortar are concealed from overhead
as well as flanking views.
Below, position in heavy foliage is well hidden. From the air it
would be difficult to separate the position from the foliage pattern.
Kigukh 7t.
CONCEALING A
MORTAR
EMPLACEMENT
Progress stages in the camou-
flage of a dug-in mortar em-
placement. The upper photo-
graph shows the foxhole dug
quickly for immediate protec-
tion. As yet there is no conceal-
ment. However, although crew
are exposed, the position itself
is well chosen, spoil has been
disposed of carefully, and tracks
to position follow concealed
lines.
Next, forked sticks support
branches to form the framework
for concealment. Natural foliage
is placed on this framework.
In the third photograph the
finishing touches are being put
on the position. Surrounding
live vines are being pulled over
the emplacement.
The last photograph shows
the finished job. The emplace-
ment is ready for effective, con-
cealed fire.
Figure 72.
i
AN IGLOO
In deliberate positions, where the emplacement cannot be dug in and
the terrain is broken with bushes and rocks, an igloo (fig. 73) is an
effective quick-opening cover for mortars. Simply constructed, it is
made of two garnished twine nets, each 15 by 15 feet, two sapling
bows, and some wire for hinges.
A wire hook holds the top of the bows together when the igloo is
closed. Lifting the hook permits igloo to fall apart. Construction
details are shown below.
Figure 74.
*
»6
Figure, 75.
FLAT-TOP
In open terrain with little vegetation, the flat-top with an embrasure
can be used for overhead cover. A 15- by 15-foot garnished net is
suspended from an 18- by 18-foot No. 10 wire frame by a lacing of
No. 16 wire or rope. On the side toward the enemy, a quick-opening
embrasure is cut in at least 6 feet. The cut edges, reinforced with rope
or wire, are fastened with a circus tie of rope or with any other quick-
release fastening.
Construction details are shown above.
Wire hooks hold the embrasure side of the net to the wire frame.
When the embrasure is opened, the hooks are released from the
frame. The frame is tightened by racking the double guy wires at
corner posts and by racking the two diagonal wires together at their
crossing.
Spoil should always be removed and hidden. A flat-top will rarely
conceal piles of spoil around an emplacement, especially when they
are near the outer borders of the position.
ANTITANK
GUNS
The effectiveness o£ an antitank
gun depends upon surprise. The
gun must be concealed until it
fires, and it should remain dif-
ficult to detect after it fires.
Camouflage of antitank guns
is largely a matter of good siting.
Positions should be chosen which
offer the gun good background
against which to blend. They
should not be sited in a con-
spicuous spot, such as isolated
bushes or piles of debris in an
open area.
Fl(.l Kl "h.
58
Figure 77.
Well hidden in natural foliage, which may offer numerous places
for concealment, the antitank gun has an advantage over the exposed
tank. Positions in natural cover — see above photograph — should
always be looked for. Here the crew has increased concealment by
adding cut branches.
59
Figure 78.
GUN SHIELDS AND DRAPES
The angular shape of the 37-mm gun shield is conspicuous to the
tank observer. If a simple panel, made of wood or wallboard cut in
an irregular shape, is attached to the top of the gun shield, it will
be easier to blend the gun with natural foliage. This reduces the
amount of natural materials which need be added to disrupt its forms.
A few branches at characteristic areas, such as the wheels, complete
a hasty concealment job.
The 57-mm antitank gun shield — see above photograph — is already
equipped with a scalloped edge. Painting the shield to match the
background increases its effectiveness. The problem of concealing the
57-mm gun is basically the same as that of the 37-mm gun.
The above photograph shows a 57-mm gun wheeled quickly into
position in bushes. No attempt has been made to camouflage the gun
here, yet note the effect of the scalloped gun shield; it is not an
angular line. From a distance of 100 yards or more, even an uncam-
ouflaged gun, well sited, is inconspicuous. The gun crew, whose heads
protrude above the shield, are hard to detect because their helmets are
well camouflaged with natural materials.
Artificial materials are often necessary to supplement natural con-
cealment. A position can be temporarily concealed by means of a
quickly erected drape made of issue shrimp net or garnished twine
net, 29 by 29 feet. It should be used where its irregular shape can be
blended into the background. Figure 79 © shows a dug-in fan-type
position, well sited, but without a drape. Figure 79 © shows the same
position with a garnished twine net drape. Correctly propped over
the gun to allow sufficient headroom, the gun may be fired and
serviced with the drape in place. An embrasure is made by slitting
the net and propping the sides of the opening, or, if necessary, the
whole drape may be quickly thrown back (see fig. 80 ©) to allow
unhampered action by the gun crew. Often branches can be tied
together overhead. The addition of natural foliage (stuck in the
ground) will mask gun-blast marks.
Figure 79 © and ©.
Figure 80 © and @.
DRAPES
In a comparatively open area with moderately high grass, an emplaced
antitank gun can be rendered inconspicuous from ground observation
and concealed from aerial observation. The drape should be replaced
by a flat-top as soon as the situation will allow. Above, the drape in
place; below, the drape thrown back as the crew goes into action.
A well-concealed gun emplacement can be betrayed by a careless
crew. The crew is part of that emplacement; they must not be allowed
to move about in the open, to track up the surrounding area, or other-
wise to attract attention to the position.
FALSE ROCKS
Battlefield examples of well-
concealed deliberate antitank
positions are shown on this page.
In figure 81 © the area is a
confusion of small rocks. The
emplacement is concealed with
false rocks made of cloth sacks,
stuffed with a light-weight
material, such as paper, colored
to match the real rocks, and at-
tached to a chicken-wire screen
(fig. 81 ©). In figure 82, arti-
ficial rock slabs, typical of the
area, have been made from strips
of fabric stiffened with flour and
water, applied to a chicken-wire
frame, and colored to match the
surroundings.
Engineer Camouflage Bat-
talions are trained to teach these
• tricks as they are needed in the
field. Extra supplies are then
drawn from the Engineer Depot
or supply point.
Figure 81 © and ©.
Figure 82.
'- - ■ *S& r —-- -..» - -
Figure 83.
FLAT-TOP
A well-constructed flat-top gives an antitank gun excellent conceal-
ment from aerial observation (fig, 83). But the targets of the gun
approach on the ground, so the emplacement must be sufficiently well
sited and well supplemented with camouflage to be concealed from
ground observation.
After the field of fire has been checked, a flat-top should be erected
before the emplacement is constructed so that digging activities are
concealed.
The antitank-gun flat-top uses a 29- by 29-foot net supported on a
32- by 32-foot framework of No, 10 wire and six posts. The height
of the flat- top should be as low as possible. This will vary, depending
on the height of parapets around emplacements as specified in dif-
ferent theaters of operations, but it should never be above the sur-
rounding vegetation.
First step. Drive posts and stakes according to the plan shown in
figure 8-4 (a) . The posts are driven in just far enough to hold them up
and are slanted inwards about 18 inches. The emplacement should be
in the center of the layout.
Figure 84 (a).
Second step. String three cross wires. The steps of stringing each
wire are shown in figure 84. A side nail on the posts, about 12 inches
.from the top, supports the wire until it is pulled as tight as it is
possible to do so by hand. The wire is then lifted to the post tops and
set between two nails projecting about l / 2 inch. Posts are then pushed
to a vertical position, and extra wire from stakes is attached to each
post at the side nail [fig. 84 (b) ]. The wires now should be very taut.
Figure 84 (b).
Figure 84 (c).
Third step. String the two side wires [fig. 84 (c) ]. Fasten end to
corner post 12 inches from top, run to and around stake two or three
times, then back over the side guys to the opposite stake and corner
post. Raise wire to top of posts, and if any slack remains rack the
guy wires to remove it.
Fourth step. String diagonal wires from corner post to and around
anchor stakes two or three times, then back across the post top to the
Figure 84 (d).
66
diagonally opposite post and stake [fig. 84 (d)]. These wires are
tightened by racking.
Fifth step. Raise folded garnished net up on top of frame and
unroll to the sides [fig. 84 (d) ]. As net is being unrolled, lace it to
the outside wire of the frame with No. 16 wire. There will be a gap
of 12 to 18 inches between the net and frame wire. The net must be
pulled as taut as possible and kept that way.
Sixth step. Place natural foliage on the ground around the struc-
ture as necessary to break up its silhouette. One man should stand at
a distance from the net and on the enemy's side to determine its
effectiveness.
All spoil around and in the emplacement should be covered with
natural materials, and all tracks should be brushed out regardless of
how difficult they are to see at close range.'
A net shrinks when wet and, must always be tightened again when
it dries out. At the beginning of wet weather or before dew falls,
loosen lacings to allow for shrinking.
When there are seasonal changes in the* color of the background,
the color of the garnishing must be gradually changed to match.
c ' . — -—; ' ".^
STUDY AND PRACTICE
This book contains the how and why of indi-
vidual and infantry weapon concealment. How-
ever, merely studying these pages is not enough.
Effective concealment requires a great deal of
practice. There will be no time for practice on
the battlefield. Practice the techniques of con-
cealment until they become as familiar as
marksmanship.