About the COLOURS of LE COUREUR

Uwek

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This information is given by Jean Boudriot in his monograph, so if you want to paint the ship according the usual colours for the french Navy of this period ...... you should follow this information

ABOUT THE COLOURS OF COUREUR

In theory, the colours used on Le Coureur are the usual colours for a French Royal navy ship: but we did not have any original documentation to ascertain these dispositions on our vessel.

The hull below the waterline should be treated in white: although the colour should extend slightly above*. Then, above, the hull is painted black, including the wales. Yellow ochre above the wales then black for the sheer and the railing: although a dark blue can be a substitute to black. The stem, stempost and rudder, above the waterline, are painted black.

The stem and lower counter is painted black, the stem molded rails Naples yellow and the false window framing white.

The decoration rail below the false window is painted yellow ochre, the streamer is blue and the letters white. To enhance the appearance of the king's arms, the area between the windows is painted black, the carved decor blue and Naples yellow or gold.

The deck planking is not painted. All ironwork is black and the fittings including the gun carriages are painted red ochre.

The inside of the ship's boat is painted red ochre, the outside under the waterline white and above ochre and the rails are yellow.

The aft portion of the bowsprit, past the stem, is painted black. The mastheads and the base of the topmasts are black.

The yards are black and everything not mentioned is left in natural wood.

The sail have a very slight rust tone and all rope work is medium brown.

Evidently, the colours used on the hull and masts are only a suggestion. It is possible to divert from the colour scheme: but no other colours should be introduced.

*To improve the wake of the hull, the area below the waterline must be frequently treated with the application of tallow

1614177399259.png

To get an impression of the different colours, usually in the older monographs from ancre one sheet with colour samples were included (due to photographing this printed sheet the shown colours can be slghtly different to the shown)

IMG-5895.jpg


Many Thanks to @ot1138 who mentioned this definition given by Jean Boudriot in his building l og
 
Very good Uwe. I am surprised to see that "all the rope work is medium brown" So there is no distinction between standing and running rigging? Very interesting!!

The rope used for most of the rigging is is made from the same basic material and tarred (for protection). The colour difference between standing and running rigging is that the rope for the latter is frequently handled as it reeves through blocks and such: this changes the colour resulting in a lighter tone.
G
 
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Thanks Gilles, I misunderstood, I was thinking the model is built with all the same colour of rope/rigging. Would it then be fair to say that using black for standing rigging would not be as accurate as a brown colour?
 
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Thanks Gilles, I misunderstood, I was thinking the model is built with all the same colour of rope/rigging. Would it then be fair to say that using black for standing rigging would not be as accurate as a brown colour?

Hi Don,
About the colour of the rope work: I guess, one can think that black would not be fully accurate ... but I cannot say yes or no in regards to your preference on your model… This said I can give a brief description as to how the rope was made giving it its colour.

Rope was made from hemp fiber. It was a careful multi-step process to get the hemp ready. At the end of the process the fibers were very light in colour.

The hemp fiber was then spun into yarn, which was tarred prior to be used for rope making.

The tar was made from the “cooked” sap of resinous softwood collected while the wood was being burnt. The end result would be a "rusty" brown colour yarn (after tarring).

The next step would be laying the rope, again using the tarred yarn.

Most of the rope used in the standing rigging was wormed for strength and then served for protection. Worming was done using a small diameter rope (made with tarred spun-yarn) and serving was done with tarred spun-yarn. The end result should be a consistent brown colour throughout: from medium to dark brown.

Again the difference in colour between standing and running rigging is due to the repeated, regular rope handling.

From there, you can make up your mind as to what is appropriate for a model.


G.
 
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That is a nice reference @Uwek. I had bookmarked that color chart above but nice to have it here.

I would advise against trying to color match the base colors of Le Coureur. Yellow Ochre and Red Ochre can be made easily enough by hand or if one prefers, purchase the Caldercraft admiralty paints from JoTika (which is what I did).

Going this route is not only authentic but ensures colors that are virtually guaranteed to be authentic to the original French ships.

I cannot state the same for Prussian Blue but I took a chance and ordered their French Blue which appears to be a nice match.
 
A question... Should the inner planking be painted red ochre? Most of it is so be covered by walls, which I presume will be painted red, but what about the exposed portions?
 
A question... Should the inner planking be painted red ochre? Most of it is so be covered by walls, which I presume will be painted red, but what about the exposed portions?

No one has taken this one, so I will...

As per the text in the monograph, no record of paintwork was found for this vessel. This record usually consists in a list (by amount / weight) of paint used for a particular ship. This list would be included in the detailed fitting-out record established for the construction of the ship. From there, it is possible to evaluate the surfaces covered: guided by certain documented practices. As a result the author indicates that in theory, the “usual” colours would have been used.

Now what is usual?
Well, briefly and mostly from memory, in regards to the inside of the vessel the paintwork may be as follows (as per the 74-gun ship by the same author):
- Below deck, surfaces in the hold are generally covered in white, including floors, but exception is made for the gun room and stowed cable area where the floor is kept unpainted.
- Below deck, the officers’ lodging is painted grey. And on a personal note, one would assume that the closed areas would have been painted as light a colour as possible since, in this vessel, only skylights provided natural lighting.
- Above deck, the inner “wall” is painted red ochre including the gun carriage. In my opinion, parts of the windlass could also be included (not the drum though): but again this is just my own opinion as some fittings (or parts of) were painted in this way.

The deck planking is kept natural.

As many have probably noticed, fully painted models are fairly rare… But should that stop you? Something to think about.

[Edit] I am also going to add that painting the model is one area where most use their "artistic licence".

G.
 
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What monograph is that from? Uwek posted a screenshot from the Boudriot monograph which only states the inside should be painted red. I have seen traces of the same color in other french models of the period as well, though I don't have any specific ones to reference at the moment.

203982-65b394f1aa86ff403cdb59cdfe384740.png
 
What monograph is that from? Uwek posted a screenshot from the Boudriot monograph which only states the inside should be painted red. I have seen traces of the same color in other french models of the period as well, though I don't have any specific ones to reference at the moment.

Just looked to confirm what I said above. The information is from the 74-gun ship, vol. 2 written by Jean Boudriot. My answer is, of course, a small part of, and a condensed version of what is indicated in there.

The monograph does not specify anything about the paint inside "Le Coureur". The reference in the text applies to deck fittings and the ship's boat (cutter).
G

Here is the "screen shot" referenced...
1614177399259.png
 
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to lmprove the wake of the hull......what do you mean by this @ Uwek

The application of tallow (similar to pitch-oil) is said to improve the way the surface of the hull below the waterline "glides" through water, reducing friction: thus somewhat improving speed and reducing wake.
G
 
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As far as fittings located on deck that could be painted red-ochre, they may include bitts, ship's boat (cutter) supports, etc... even hooded structures.
G.
 
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The application of tallow (similar to pitch-oil) is said to improve the way the surface of the hull below the waterline "glides" through water, reducing friction: thus somewhat improving speed and reducing wake.
G
The tallow/pitch mixture was more for anti-fouling purposes (to discourage barnacles etc.. ) than to provide lubrication for the hull to "glide" through the water. If the purpose were to improve speed and reduce weight, why did the British convert all their bottom covering to copper plates with rivets beginning about 1770? The copper plating would increase drag and actually slow the boat some. The reason was that the plating was a much superior anti-fouling hull covering compared to tallow/pitch.
 
The tallow/pitch mixture was more for anti-fouling purposes (to discourage barnacles etc.. ) than to provide lubrication for the hull to "glide" through the water. If the purpose were to improve speed and reduce weight, why did the British convert all their bottom covering to copper plates with rivets beginning about 1770? The copper plating would increase drag and actually slow the boat some. The reason was that the plating was a much superior anti-fouling hull covering compared to tallow/pitch.

Hi Dave,

I almost entirely agree with your comments but will make the following observations: reference vol.1 and 2 of the 74-gun ship by J. Boudriot.

Once the underwater hull was planked and the caulkers have taken care of waterproofing every joint, this area of the hull was covered with a layer of what the author calls “stuff”: a mixture of dry-pitch, sulphur and tallow or fish oil. This layer of “stuff” gave the hull a uniform white (ish) coat and [direct quote] “this protective coating provides the hull at the same time with a surface which is uniformly smooth, but does not protect it from marine growth or worm or (a more serious menace) the attack of the teredo (a particular shipworm).” “When ships are expected to spend a long time at sea (particularly in warmer seas), the hull must be protected by an outer sheathing, either of planks or metal”. [end quote]

Le Coureur, a French vessel which lifespan is within the time frame of the documentation contained into the work cited above, would have originally received the same treatment with this “stuff”: and for the same reason.

But... and this a particular reference for Le Coureur:
Additionally and according to the information provided in Le Coureur monograph: “Pour améliorer le sillage du lougre, sa carène devait être fréquemment suiffée ou espalmée”.

Which translated into English means: the underwater hull of the lugger needed to be coated with tallow quite often to improve the wake (see my earlier reply on this subject)

G.
 
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Just looked to confirm what I said above. The information is from the 74-gun ship, vol. 2 written by Jean Boudriot. My answer is, of course, a small part of, and a condensed version of what is indicated in there.

The monograph does not specify anything about the paint inside "Le Coureur". The reference in the text applies to deck fittings and the ship's boat (cutter).
G

Here is the "screen shot" referenced...
View attachment 220548

Wonderful, you are correct. Thank you for the clarification!
 
Boudriot's quote calls for the stern molded rails to be painted Naples Yellow while the decorative rail below the false window is indicated to be yellow ochre. What is Naples yellow exactly? I see that it is a brighter shade of yellow ochre but I'm wondering how to reproduce this (or perhaps it is unnecessary).
 
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