THE FIXATIVE: YES OR NO?

THE FIXATIVE… There is a great debate around the use of fixative on dry pastel paintings. There are advocates and those who are categorically against it!
Let’s take a look at the issue and conduct a small test, to better understand the subject….

WHAT IS FIXATIVE?

Originally, fixatives were made from natural resins such as shellac, Damar gum, or Chios mastic, but they are hardly used in this form anymore. Nowadays, fixatives are primarily found as aerosol sprays, which are more economical and easier to use. These modern versions use synthetic resins (acrylic or acrylo-ketonic).

WHAT IS FIXATIVE USED FOR?

Fixative for pastel is used to secure the powdery particles onto the surface, preventing them from moving or detaching.
Adding layers and avoiding paper saturation: By applying fixative between different layers of pastel, you can layer colors and details without worrying about the previous colors mixing or altering.
With a bit too smooth paper: even though I strongly recommend using paper specifically designed for this technique, some artists use other types of paper or surfaces, like cardboard, kraft paper, etc., which are quite smooth and don’t grip pigments well! In this case, fixative is essential.
Protects from UV rays (when indicated), but generally, only a very light veil is applied, and I doubt it really protects from UV… In any case, a pastel should be framed under UV-protective glass, so…

Fixative is not a varnish!! So, once it’s hung in a corridor, for example, it does not protect against a bag rubbing against it… BYE BYE beautiful pastel painting! Therefore, applying fixative does not exempt you from framing the artwork: a pastel should ALWAYS be framed under UV-protective glass with a mat (and, if possible, with anti-reflective glass)!!

FOR WHICH TECHNIQUES?

Fixative can be used on a drawing made with friable mediums such as dry pastel, charcoal, sanguine, black stone, graphite pencils, lead mines, colored pencils… Friable media are all drawing tools that deposit pigment powder on the surface.

With very abrasive papers like Pastelmat (Clairefontaine) or Pastelcard (Sennelier), a large amount of pigment is retained in the paper, so there is no need for fixative to layer multiple coats

PRACTICAL TEST…

Let’s move on to practice to really compare!

TEST No. 1: ADDING FIXATIVE

Difference between the hue without fixative and with fixative… It’s unequivocal! It looks like the paper is folded, but no, it is flat, without shadow…

And I specify that here the fixative is dry. It’s not a myth: fixative really darkens the hues…

TEST No. 2: RUBBING

I placed two fingers: one on the pastel and the other on the fixed pastel, and slid them… Once again, the difference is striking: with the fixative, no pigment moved!

But be careful, this doesn’t mean you shouldn’t protect your work once finished! It doesn’t replace the protection of glass against dust and aggressive rubbing…

TEST No. 3: LAYERING

I did the test with a new layer of pastel, here in orange, that I extended to the paper to compare.

The unfixed surface is saturated, the pigments no longer adhere and literally slide.

The fixative recreates a surface that grips the dry pastel as well as the virgin paper.

Fixative is a very harmful product!! Therefore, it’s non-negotiable to take precautions:

Go outdoors, to avoid polluting the air in your room.
Wear a real mask that protects against harmful gases and aerosols (don’t just use your little mask for the famous virus…) Even if you are outdoors, but without a mask, being nearby, you will inevitably inhale it! And I don’t need to draw you a picture to explain that your lungs really don’t like fixative.

Choosing a gas mask: There are colors depending on the types of gases… Personally, I chose a mask that filters several types of gases. Because you never know, it could be useful in other situations…

HOW TO USE FIXATIVE?

WHAT NOT TO DO:

We might tend to lay our paper on the ground and spray fixative from above. The spray can should create a cloud of fixative, except that there are often a few drops that fall. So…

The trick is to place your paper vertically in front of you (with protective cardboard behind and below) and direct the spray of the fixative can perpendicularly to your paper, so the jet is horizontal. This way, the larger drops will fall onto the cardboard without reaching your paper. Not too close, to avoid drowning your pigments, and not too far, otherwise, you’ll only have fixed… the air.

You should be 40-50 cm away, but it’s better to start a bit further away to ensure that when you activate the fixative can, the small projections don’t fall onto your artwork.

For large formats, spray steadily downwards, making horizontal lines.

The movement should be wider than the format, so that when changing direction, it doesn’t overload on your paper, but rather on a protective cardboard.

I ADVISE AGAINST:

I saw a tutorial video where someone explained to hold the paper up in the air, slanted downwards, with your arm stretched a bit above you, and the fixative aiming at the paper, so upwards… Basically, instead of holding your paper in front of you, you raise your arm a bit… But clearly, I don’t think this technique is well thought out because:

• By holding the paper above you (even if it’s a bit slanted), you are underneath and some of the fixative will fall back onto you.
• By holding it at arm’s length, you cannot move further away than the length of your arm! (Unless you have “GO GO GADGET ARMS”… Who gets the reference?) and you will inevitably get some fixative on your arm too…
In short, I don’t see any advantages, only disadvantages…

DON’T FORGET

Once finished, turn the aerosol can upside down and press for two seconds into the air, to purge the nozzle of the spray and prevent it from clogging.

Be careful: an older can of fixative will have a less regular spray and will create drops instead of a cloud of the product.

BUT… SHOULD YOU USE FIXATIVE?

It’s good to know what it’s used for and how to apply it, but the real question is: should you really use fixative?

As seen in the test, the real issue with fixative is that it tends to alter colors by making them darker and less covering. And it’s a harmful product… So clearly, the less we use it, the better!

But in certain cases, it’s wise to use it:

If you’re doing abstract pastel work and want to layer multiple coats.
If you have a dark background that you want to set to work on the subject without the background moving.
If you’re still struggling with paper saturation and can’t restart the painting, it can be a backup option…

BRANDS AND PRICES

Prices can vary from the very affordable to quite expensive. It would be quite difficult to test them all and wait 10 years to see which one yellows the most or to conduct truly comparative tests with exactly the same amount of product… Especially since I don’t use it myself. But clearly, as is often the case with fine arts materials, going for the cheapest option usually leads to regretting the purchase. So, when you’re unsure what to choose, I recommend opting for a mid-range price or a brand whose quality you are already familiar with.

TIPS :

Do a test before using it on your dry pastel painting.
Be careful not to apply too much fixative.
If the nozzle is clogged, or if the product doesn’t come out properly, you can soak the nozzle in hot water.
Protect the area under and around your drawing well.
Use the fixative outdoors! It’s really toxic and very volatile, so it settles everywhere in the room.
Fixative works very well on abstract backgrounds, black backgrounds, or those that can tolerate being darkened.

FREQUENTLY ASKED QUESTIONS: :

USING HAIRSPRAY?

“Someone told me they use hairspray to fix their pastels, is it the same as fixative?” Would you put pastel fixative in your hair? No… Each product has its specific use!

Since it’s not designed for it, there’s indeed a high probability that your pastel might be altered or age poorly. Hairspray isn’t meant to stay in your hair for more than a day, whereas an artwork should last as long as possible. Plus, UV-resistant pastel fixative helps protect a bit from sun degradation.

MAKING YOUR OWN FIXATIVE?

To save money, some people look into making their own fixative recipe… But is it really wise? If your homemade fixative ages poorly and degrades your paintings after a few years, unfortunately, by then, you might have applied it to all your paintings… And there’s the handling of toxic products… Its use is more cumbersome because once you’ve used your own fixative, you’ll need to clean the inside of the sprayer you used thoroughly; otherwise, it will clog as it dries… And this is clearly not an easy task…

LARGE DROPS FELL?

If large drops have fallen onto your pastel, try to touch up the pastel just in the places where you see the drops. But don’t try to unify by applying more fixative over the entire surface.

AND YOU?

Was this article helpful to you? Share your experiences with fixative… Do you often use it? Not at all? Have you had any issues with it? Have you tried several brands?

Comment below… 😀

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PASTEL

THE FIXATIVE: YES OR NO?

THE FIXATIVE… There is a great debate around the use of fixative on dry pastel paintings. There are advocates and those who are categorically against it!
Let’s take a look at the issue and conduct a small test, to better understand the subject….

WHAT IS FIXATIVE?

WHAT IS FIXATIVE USED FOR?

FOR WHICH TECHNIQUES?