Mimicry vs. Camouflage

Main Difference

The main difference between Mimicry and Camouflage is that the Mimicry is a similarity of one species to another and Camouflage is a concealment through color or pattern

• Mimicry

  In evolutionary biology, mimicry is an evolved resemblance between an organism and another object, often an organism of another species. Mimicry may evolve between different species, or between individuals of the same species. Often, mimicry functions to protect a species from predators, making it an antipredator adaptation. Mimicry evolves if a receiver (such as a predator) perceives the similarity between a mimic (the organism that has a resemblance) and a model (the organism it resembles) and as a result changes its behaviour in a way that provides a selective advantage to the mimic. The resemblances that evolve in mimicry can be visual, acoustic, chemical, tactile, or electric, or combinations of these sensory modalities. Mimicry may be to the advantage of both organisms that share a resemblance, in which case it is a form of mutualism; or mimicry can be to the detriment of one, making it parasitic or competitive. The evolutionary convergence between groups is driven by the selective action of a signal-receiver or dupe. Birds, for example, use sight to identify palatable insects, whilst avoiding the noxious ones. Over time, palatable insects may evolve to resemble noxious ones, making them mimics and the noxious ones models. In the case of mutualism, sometimes both groups are referred to as “co-mimics”. It is often thought that models must be more abundant than mimics, but this is not so. Mimicry may involve numerous species; many harmless species such as hoverflies are Batesian mimics of strongly defended species such as wasps, while many such well-defended species form Mullerian mimicry rings, all resembling each other. Mimicry between prey species and their predators often involves three or more species.In its broadest definition, mimicry can include non-living models. The specific terms masquerade and mimesis are sometimes used when the models are inanimate. For example, animals such as flower mantises, planthoppers, comma and geometer moth caterpillars resemble twigs, bark, leaves, bird droppings or flowers. Many animals bear eyespots, which are hypothesized to resemble the eyes of larger animals. They may not resemble any specific organism’s eyes, and whether or not animals respond to them as eyes is also unclear. Nonetheless, eyespots are the subject of a rich contemporary literature. The model is usually another species, except in automimicry, where members of the species mimic other members, or other parts of their own bodies, and in inter-sexual mimicry, where members of one sex mimic members of the other.

  Mimicry can result in an evolutionary arms race if mimicry negatively affects the model, and the model can evolve a different appearance from the mimic.p161 Mimicry should not be confused with other forms of convergent evolution that occurs when species come to resemble each other by adapting to similar lifestyles that have nothing to do with a common signal receiver. Mimics may have different models for different life cycle stages, or they may be polymorphic, with different individuals imitating different models, such as in Heliconius butterflies. Models themselves may have more than one mimic, though frequency dependent selection favours mimicry where models outnumber mimics. Models tend to be relatively closely related organisms, but mimicry of vastly different species is also known. Most known mimics are insects, though many other examples including vertebrates are also known. Plants and fungi may also be mimics, though less research has been carried out in this area.

• Camouflage

  Camouflage is the use of any combination of materials, coloration, or illumination for concealment, either by making animals or objects hard to see (crypsis), or by disguising them as something else (mimesis). Examples include the leopard’s spotted coat, the battledress of a modern soldier, and the leaf-mimic katydid’s wings. A third approach, motion dazzle, confuses the observer with a conspicuous pattern, making the object visible but momentarily harder to locate. The majority of camouflage methods aim for crypsis, often through a general resemblance to the background, high contrast disruptive coloration, eliminating shadow, and countershading. In the open ocean, where there is no background, the principal methods of camouflage are transparency, silvering, and countershading, while the ability to produce light is among other things used for counter-illumination on the undersides of cephalopods such as squid. Some animals, such as chameleons and octopuses, are capable of actively changing their skin pattern and colours, whether for camouflage or for signalling. It is possible that some plants use camouflage to evade being eaten by herbivores.

  Military camouflage was spurred by the increasing range and accuracy of firearms in the 19th century. In particular the replacement of the inaccurate musket with the rifle made personal concealment in battle a survival skill. In the 20th century, military camouflage developed rapidly, especially during the First World War. On land, artists such as André Mare designed camouflage schemes and observation posts disguised as trees. At sea, merchant ships and troop carriers were painted in dazzle patterns that were highly visible, but designed to confuse enemy submarines as to the target’s speed, range, and heading. During and after the Second World War, a variety of camouflage schemes were used for aircraft and for ground vehicles in different theatres of war. The use of radar since the mid-20th century has largely made camouflage for fixed-wing military aircraft obsolete.

  Non-military use of camouflage includes making cell telephone towers less obtrusive and helping hunters to approach wary game animals. Patterns derived from military camouflage are frequently used in fashion clothing, exploiting their strong designs and sometimes their symbolism. Camouflage themes recur in modern art, and both figuratively and literally in science fiction and works of literature.