Am using Claessens #15 DP (double-primed) and have no issues on a mural-sized old master copy in progress.
In fact, it offers better absorbency and adhesion than a recent piece I primed from raw linen with out-of-the-can Williamsburg Lead white ground. After that experience, I reground the Williamsburg lead ground with additional calcium carbonate to improve absorbency.
Without having to turn into mad scientists, I think we always have to be very wary of artist-supply manufacturers - especially with regards to consistency year-to-year. Formulas change.
Along the same lines - but not anything to do with a respected linen - I've had tremendous difficulty sourcing out various flake white tubed oil colors since Windsor Newton changed the formula of their Flake White #2. All commercial flake white tube oil paint is now predominantly zinc white - and zinc has very different qualities than lead. The heft of the tube is about the only similarity. Zinc is a poor drier and when exposed to air turns "gritty" - it "pils" under your brush. I like to think the manufacturers only include enough lead to make the stuff poisonous.
As for grounds: you might want to be sure your linen is at the very least double-primed.
We can look to sculptors as our models - the ones I know seem naturally open to the idea that everything we do is a dialog - between the model - the artist - the materials - the light - the weather - the casting process - and the best, especially those casting in bronze, understand the importance of problem-solving, engineering skills, agility, and stoicism in the face of imminent disaster.
Hybrid Mode
