By Roy R. Behrens (2009). 9 x 6 in. 464 pp. Illustrated (344 b&w illus). Softbound. Includes subject timeline, bibliography and index. ISBN 0-9713244-6-8. List price $35.00. CAMOUPEDIA:
A Compendium of Research on
Art, Architecture and Camouflage There is nothing else quite like this: The conclusion of 35 years of research, it features biographical articles on hundreds of artists, architects, stage designers, and zoologists—even automobile stylists and golf course planners—who contributed to military and/or natural camouflage in th 20th century. Enriched throughout by 344 illustrations, including photograph portraits, military photographs and documents, patent drawings, artworks and other images. It includes a comprehensive Camouflage Timeline, a 38-page bibiliography of camouflage research sources, and in index.
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Armada International—
“[This book] is worthy of unspoken praise.” Click below to purchase online Designers Review 
of Books—
“[Camoupedia] is an essential reference for anyone interested in the subject and its broader context…it is a testament to the authority of Behrens’ research and his contagious love for the subject.” camouflage blog poetry
of sight
blog Stephen Kern—
“The Cubists tried to blend the fruit into the background of their still lifes, just as camouflage attempted to blend soldiers into the terrain.” Richard Zakia—
“[This is] scholarly research and writing that is readable—nothing is hidden.” Mute Magazine—
“[This book’s] archaeological attention to detail and captivating style of writing lead the reader to uncharted territories stretching along the no man’s land between academic disciplines…an encylopedic presentation of the [author’s] vast body of findings in camouflage, [it] opens doors to new frontiers in a number of understudied areas of art and military history.”

Guy Davenport—
“Roy Behrens is a rare example of the graphic artist who is also wonderfully skilled as a writer. His sentences are hale and athletic, alive with sense and excitement, and go about their business with an admirable briskness. He never fusses his subject, hems, or haws. Such brave forthrightness is rare in discursive writing.”

Rudolf Arnheim—
“I have long admired Behrens’ original research.”

Arthur Koestler—
“[Behrens] writes with great clarity and incisiveness on subjects about which most art historian ramble and waffe.”
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