I paint in this method, and surely do not wait a month for each layer to dry.
I do not use liquin or any alkyd, but more traditional materials, mainly oil of spike, OMS, stand oil, etc.
My dead layer dries quick on the dark end (ivory black/burnt umber) and slower on the light end (same darks mixed with 1/2 lead white, 1/2 titanium white). Basically the dark tones are pretty dry overnight, very dry in another day, and the lightest lights are good and dry in 3 days, max.
Since using stand oil in the medium, my layers dry very hard and enamel-like. I always rub oil in before painting over a dry part; very little if any old paint comes off when wiping it off, and I attribute that also to the stand oil.
If beading up occurs when oiling out, I often take a brush and lightly brush OMS over the area, give it a few minutes, then gently wipe it off with a paper towel. If color doesn't come off here, it's not going to when I oil out the section.
I also find it important (and necessary) to 'jump around' my painting to give fresh sections time to dry, so that when it's time to join 2 painted areas I'm assured no paint will come off in my preparatory actions.
A heavier canvas texture could promote paint wiping off more easily from the higher sections of the canvas, I've seen that myself in my earlier efforts. I currently have 1 'perfectly' set up painting, where everything seemed to go well (it's done with the dead layer now, waiting for color).
For this painting, it was done on canvas glued to a MDF board, 2 layers of gesso to fill in some of the weave, sanded lightly. Subject drawn out in pencil (lightly) then erased mostly, then inked in with a micron pen.
Imprimatura paint applied, pure lead white tinted to a light olive color (much like Alexei, but lighter), thinned to a ketchup-like consistency with turps and a little oil (the white was super-stiff at first). Applied evenly, then evened out as much as possible with a dry mop blending brush. This gave me the tone I wanted but I could still see the inked drawing perfectly underneath.
The umber layer (only 1) went on with a thinned version of my medium, and each section was dry the next day (I do live in So. California, so it's warm and dry here almonst always). Once again, I reiterate that the addition of stand oil to my medium made this layer seem harder and much less prone to wiping off than ever before.
I painted an intermediate step before my dead layer, a 'backbone'-type step where I just added the lightest 2 steps (1-2 out of 10) in titanium W. and titanium/sm. amount of burnt umber. So at this point I have an olive imprimatura at about a value step 3 out of 10, an umber layer of values 4-10, and a 'light' layer of values 1-2.
The dead layer was applied much like Alexei recommends, the darks very thin and the lights thicker. I did this more successfully than ever before, carefully matching the dead layer tones to the umber tones achieving a nice optical mix of gray over brown, and the lighter tones were helped by my previous small 'backbone' layer.
As I said this has been my most successful result so far, at least in terms of paint application and routine.
I used to have situations where colors would rub off when prepping areas to paint, but I seem to have discovered some magic combo of the right support, prepared well, and the right medium, and maybe the right timing in between everything