Once we believed we had Pnuma Terra dialed in and performing well around the globe there was still one more critical test. The location?
FIRST, WORKING WITH KANON KULPA AND BLAINE KIRCHERT OF KAMOTEK, WE CREATED PNUMA TERRA ON A LARGE 42”X 36” SCALE TO REDUCE THE NUMBER OF REPEATS ON EACH PIECE OF GEAR. PATTERNS ARE FREQUENTLY DESIGNED TO A 25” X 25” SCALE WHICH CREATES A NOTICEABLY REPETITIOUS LOOK, ESPECIALLY ON LARGER COVERAGE AREAS.
Next, designer Kanon Kulpa collaborated with the Pnuma team and added warm organic colors to form a multi-layered, soft-edge, complex background blending seamlessly with tactical hex shapes and the sharp contrast of black fractures. These elements combine to create a dramatic counter-current texture which closely mimics various settings found in nature.
Ultimately, the Pnuma Terra pattern created the illusion of depth and layers of fine detail when viewed up-close. From a distance the lightest and darkest areas take over, morphing into a large-block, multi-distance camouflage pattern. This morphing phenomenon first occurs at about 25 yards, again at about 100 yards, and continues until the distance becomes too great for what the eye can see without the help of high-powered optics.
During development we looked at the pattern’s ability to blend according to the human eye as well as its ability to remain concealed from wildlife, including the sharpest eyes of mountain sheep and goats. Throughout the testing we subtly tweaked the pattern as we gained insight into its performance.
Once we believed we had Terra dialed in and performing well around the globe there was still one more critical test. The location? Our own backyard. Could this one pattern what worked so well in mountains, creek bottoms and deserts on different continents prove effective in the woods, meadows and cornfields of whitetail country? The answer was a resounding “Yes.”
To document these final tests we worked with Kenton Rowe, wildlife naturalist and renowned photographer with covers for National Geographic in his portfolio. Kenton would critique the pattern through the lens and from his in-depth knowledge of how, and what, game animals see.
