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Michelle,
Thanks for taking the trouble to the the comparative study. I'm sure it will be quite helpful to all of us. I will take your findings into consideration, remembering the differences in ambient humidity ("the rain in Spain...").
I am quite surprised about the availability of lead white over there. It is practically impossible to find here (commercially, in tubes). One would have to buy the powdered pigment and make it oneself in the studio. I recently combed practically the whole city to look for lead white (as a primer and in tubes) but no luck. So I found myself in a tiny family run shop (one of the few handed down from generation to generation) where they still make their own colours and tried out a few. One of them was titanium white ground in walnut oil and I found it to be quite a good, brilliant, full bodied white. I don't think it contains zinc, although I will have to confirm this with the man. Which leads me to my question:
What is the deal with walnut oil? I have read that it used to be used in the old days as a linseed oil substitute to grind white pigments because of their non-yellowing properties, and that it is a drying oil, but does it take longer to dry than linseed?
Also, are you adverse to cobalt drier mixed in with the medium to quicken drying? If so, why? I am still quite new to cobalt drier and would like to hear from you or anyone else who may have more experience. I ask this since you mentioned you were in search of a white that dried quickly without being alkyd. I have also found that a couple of drops of damar varnish in my medium also quickens drying. Have you tried this, or am I doing something potentially wrong?
Thanks for taking the time.
Carlos
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