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{{gabungdari|Loreng}}
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'''Kamuflase''' adalah suatu metode yang memungkinkan sebuah [[organisme]] atau benda yang biasanya mudah terlihat menjadi tersamar atau sulit dibedakan dari lingkungan sekitarnya. Contoh-contohnya adalah belang pada [[harimau]], [[zebra]], [[belalang]], dan [[seragam tempur]] motif loreng pada tentara modern. Kamuflase memang suatu bentuk [[tipuan]] dan penyamaran.
Kata ''kamuflase'' dalam bahasa Indonesia dipinjam dari [[bahasa Belanda]], yang pada gilirannya meminjam dari [[bahasa
== Kamuflase militer ==
{{main|Kamuflase militer}}
Dalam peperangan
Satuan-satuan perintis yang lebih kecil dan tidak reguler pada abad ke-18 adalah orang-orang pertama yang mengadopsi warna-warna hijau dan coklat pucat. Pasukan-pasukan besar mempertahankan warnanya hingga akhirnya diyakinkan untuk menggantinya. Setelah menderita banyak korban, tentara Britania di India pada 1857 mencelup warna celana mereka yang merah menjadi warna-warna netral, mulanya dengan warna lumpur yang disebut [[khaki]] (dari [[bahasa Urdu]] yang berarti 'berdebu'). Ini hanyalah upaya sementara, dan baru menjadi standar di kalangan dinas militer di India pada tahun 1880-an. Tapi baru setelah [[Perang Boer Kedua]] pada 1802, seragam seluruh tentara Britania distandarkan dengan warna ini untuk seragam tempur mereka.
Amerika Serikat segera mengikuti Britania, mengadopsi warna khaki pada tahun yang sama. Rusia mengikutinya, sebagian, pada 1908. Tentara Italia menggunakan ''grigio-verde'' ("kelabu-hijau") di Pegunungan Alpen dari 1906 dan seluruh tentara pada 1909. Jerman mengadopsi warna ''feldgrau'' ("kelabu lapangan") pada 1910.
Tentara-tentara lainnya tetap mempertahankan warna-warna yang lebih cerah. Pada permulaan [[Perang Dunia I]]
<!--The French also established a ''Section de Camouflage'' (Camouflage Department) in 1915, briefly headed by [[Eugene Corbin]] and then by [[Lucien-Victor Guirand de Scévola]]. The camouflage experts were, for the most part, painters, sculptors, theatre set artists and such. Technological constraints meant that patterned camouflage uniforms were not mass manufactured during [[WW I]]. Each patterned uniform was hand-painted, and so restricted to snipers, forward artillery observers, and other exposed individuals. More effort was put into concealing larger pieces of equipment and important structures. By mid-1915 the French ''section'' had four workshops - one in Paris and three nearer the front - mainly producing camouflage netting and painted canvas. Netting quickly moved from wire and fabric to use [[raffia]], [[Burlap|hessian]], and [[cocoa]] - the integration of natural materials was always recommended.
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The transfer of camouflage patterns from battle to exclusively civilian uses is a recent phenomenon. While many hundreds of artists were involved in the development of camouflage during and since WW I the disparate sympathies of the two cultures restrained the use of "militaristic" forms in works other than those of [[war artist]]s. Since the 1960s however artists have seized upon camouflage as a means to twist and subvert it away from its military origins and symbolism. The concept of camouflage - to conceal and distort shapes - is also a popular artistic tool.
Artists using camouflage include: [[Andy Warhol]] (notably his 1986 camouflage series, his last major work), [[Alain Jacquet]] (extraordinarily prolific in camouflage works from 1961 into the 1970s), [[Alighiero Boetti]] (''Mimetico'' pieces, 1966-67), [[David Bower]] (''Shelf Environment'' series, 1980s), [[Tom Czarnopys]] (bark-covered figurative sculpture, c1985), [[Lutz]] (a number of projects, the film ''True Stories'', ''Red, Hot and Blue'', etc. 1986-), [[Marilyn Lysohir]] (''The Dark Side of Dazzle'', 1986), [[Lau]] (''gardenergala'', 1999-2001), [[Ian Hamilton Finlay]], [[Vera von Lehndorff]] (aka Veruschka) and [[Holger Trülzsch]] (Nature, Signs & Animals, Mimicry-Dress-Art, all 1970-73), [[Kate Ericson]] and [[Mel Ziegler]] (''Camouflaged History'', 1991), [[Jennifer Lapham]] (numerous works, including ''Mimetic series'', 1999), [[Michel Aubry]] (camouflage fabric patterns, 2000), [[Désirée Palmen]] (''Streetwise'' series, 2002), [[Monica Duncan]] and [[Lara Odell]] (''Winter Camouflage Catalog'', 2002), [[Laurent La Gamba]] (''Pro-Cryptic Installations'', 2002), [[William Anastasi]] (''Blind'', 2003), [[McGurr]] (''Futura'', 2000), [[Harvey Opgenorth]] (''Museum Camouflage'' series, 1998-), [[Herbert J. Reith III]] (paintings, 2000-), [[Jane Gilmor]] (''Blind'', c2000), [[Carrie Paterson]] and [[Arshia Mahmoodi]] (''(Garden) To Delay the Progression of a Wartime Ecology'', 2004), [[Evan Salmon]] (''Dazzle Ship'', 2005) and [[Thomas Hirschhorn]] (''Utopia
Camouflage garments had a similarly hesitant adoption, although military ''styling'' has a long history of civilian use. Military patterns initially found civilian markets amongst hunters and, through military surplus, in those seeking clothing that was tough, well-made, and cheap in the United States and other countries. The steady output from countries using a [[National Service]] model was influential and several countries (initially the 'winning' sides of WW II, where there was less negative connection with military-wear) became significant markets. In the United States in the 1960s military clothing became increasingly common (mostly olive drab rather than camouflage), interestingly it was often found worn by anti-war protestors, initially groups such as [[Vietnam Veterans Against the War]] but then increasingly widely as a symbol of political protest. It is a felony in the United States to wear "any distinctive part" of a US military uniform{{fact}}. In the years after the [[Vietnam War]], camouflage military clothing became very popular among many people, replacing olive-drab military clothing.
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* [[Tigerstripe]], a jungle camouflage pattern -->
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* {{en}} [http://www.shipcamouflage.com/2_1.htm Alan Raven - Development of Naval Camouflage 1914 – 1945]
* {{en}} [http://www.arts.ufl.edu/art/rt_room/sparkers/camouflage/history.html Craig Roland - The Art of Camouflage - The History of Camouflage]{{Pranala mati|date=Maret 2021 |bot=InternetArchiveBot |fix-attempted=yes }}
* {{en}} [http://mitpress2.mit.edu/e-journals/Leonardo/isast/spec.projects/camouflagebib.html Roy R. Behrens - Art and Camouflage: An Annotated Bibliography] {{Webarchive|url=https://web.archive.org/web/20060616222117/http://mitpress2.mit.edu/e-journals/Leonardo/isast/spec.projects/camouflagebib.html |date=2006-06-16 }}
* {{en}} [http://www.wildernessmanuals.com/manual_6/chpt_1/2.html Manual tentara AS FM 21-76 tentang kamuflase] {{Webarchive|url=https://web.archive.org/web/20110718051435/http://www.wildernessmanuals.com/manual_6/chpt_1/2.html |date=2011-07-18 }}
* {{en}} [http://college.hmco.com/history/readerscomp/mil/html/ml_008100_camouflage.htm Guy Hartcup - Camouflage: A History of Concealment and Deception in War (1980)]
* {{en}} [http://www.lonesentry.com/camouflage_manual/index.html WWII War Department Field Manual FM 5-20B: Camouflage of Vehicles (1944)]
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== Pranala luar ==
{{Commons|Camouflage}}
* [http://science.howstuffworks.com/animal-camouflage.htm How Stuff Works]
* [http://efour4ever.com/cammo.htm Camouflage of Individuals and Infantry Weapon] {{Webarchive|url=https://web.archive.org/web/20121125054929/http://www.efour4ever.com/cammo.htm |date=2012-11-25 }}
* [http://bobolinkbooks.googlepages.com/royr.behrens Roy R. Behrens, "The Thinking Eye: a Chronology of Camouflage" 2006]
* [https://web.archive.org/web/20060616170844/http://web.mac.com/gesamtkunstwerk/iWeb/The_Poetry_of_Sight/Dazzle%20Camouflage.html Roy R. Behrens, "Dazzle Camouflage: High Difference Camouflage (Hodgepodge)" 2006]
* [http://whitetail.com/camo1.html "An informal study into camoflage"] {{Webarchive|url=https://web.archive.org/web/20100313053536/http://whitetail.com/camo1.html |date=2010-03-13 }}
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