A Guide to Fixatives

Introduction To Fixative

What Is Fixative Used For?

Fixatives For Different Media

Choosing The Right Fixative

How To Apply Fixative

Using Fixative Safely

Frequently Asked Questions

Further Reading

Glossary

Fixatives are clear liquids made with resin or casein and a fast-evaporating solvent, such as alcohol. They’re typically sprayed onto dry media artworks to stabilise pigment or graphite on the surface and protect the finished piece from dust. In many ways, they function similarly to varnish. 

Fixative can affect the appearance and longevity of artwork, which is why artists should choose carefully. Some artists choose not to fix their work at all. Fixative can alter colour, and so for some works, framing behind glass may be the safer option.

Varnish is a liquid coating applied to a painting once the paint is fully dry, forming a protective layer on the surface. Fixative, by contrast, is a spray used on dry, powdery media such as pastel and charcoal to secure loose particles in place.

• Form and Application: Varnish is a liquid brushed or sprayed onto paintings. Fixative is always applied as a spray, directly onto dry media such as pastel or charcoal.
• Purpose: Varnish protects a finished painting from dust, moisture, and UV light. Fixative binds loose particles to the surface to stop them from smudging or transferring.
• Workability: Some varnishes can be removed later, which is useful for cleaning or restoring a painting. Fixatives come in two types: workable, which allows further layers to be added, and final, which is permanent. 

To learn more about varnishes, read our Guide to Varnish.

Fixative is a spray applied to dry media such as pastel, charcoal, and graphite. These materials sit loosely on the surface of the paper or support, held in place only by the texture, or 'tooth', of the ground. Without fixative, they can smudge, transfer onto other surfaces, or fall away from the surface altogether.

Fixative binds these loose particles more firmly to the surface, reducing the risk of smudging and dusting. This makes it easier to store, frame, and handle finished works safely.

In terms of use, fixatives fall into two categories: workable and final.

Workable fixatives are designed to be used during the making of a piece. They stabilise the layers already applied, often while providing tooth, so you can continue working on top without disturbing what is beneath. This is useful when building up multiple layers of colour. 

For dry media underpaintings (charcoal, graphite), artists use a light spray of workable fixative before applying paint on top. Works can then be varnished later as normal.

Final fixatives are intended as a finishing layer. They provide a stronger protective coat and are not designed to be worked over. Final fixatives make the work safer to handle and frame, which is the most common next step after applying one.

Both types of fixative can affect the appearance of dry media, particularly pastel. Some slightly darken or alter the surface sheen. It is always worth testing on a spare piece before applying it to finished work.

Pastel fixatives are made for soft pastel, hard pastel, and pastel pencils. They bind loose pigment to the surface. This reduces smudging, dusting, and transfer. Pastel fixative comes in workable and final formulas. Always test on a spare piece before applying it to finished work. Popular pastel fixatives are made by Sennelier, SpectraFix, Daler-Rowney, and Winsor & Newton.

Pastel fixative can change the look of a piece. This is most noticeable with pale or delicate colours. Some artists prefer not to fix their finished pastel paintings for this reason. Instead, they rely on good framing and glazing to protect the surface.

Oil pastel behaves differently from soft pastel. Because it contains oil and wax, it does not fix in the same way as dry pastel. Use a product specifically designed for oil pastel, such as Sennelier d'Artigny Fixative, or protect the work behind glass. Always test first, as some coatings can remain tacky, alter sheen, or fail to adhere evenly. You can learn more in Oil Pastel Fixative Testing on Jackson’s Artists’ Blog.

For artists who prefer not to use fixative, framing is the most reliable way to protect a finished pastel painting. Historic pastels in major collections, including those in the Royal Collection, have long been preserved behind glazing rather than fixed. The same principles apply today.

When framing a pastel painting, keep these points in mind:

• Use glass or acrylic glazing to protect the surface from dust, moisture, and handling.
• Use a mount, spacer, or fillet to create a gap between the pastel surface and the glazing. Direct contact can lift or smudge the pigment over time.
• Avoid pressure against the surface at all times, including during framing and transport.
• Use glassine for temporary storage or transport. Lay it loosely over the surface without pressing it down.
• Do not stack unprotected pastel drawings. Even light contact can transfer pigment or cause damage.

Drawing fixatives can be used with charcoal, graphite, pencil, and more. They come in workable and final forms. A workable fixative stabilises the surface between layers. A final fixative seals the finished surface and makes it safe to handle, store, and frame. Once applied, it cannot be removed. Popular ranges are made by Brush and Pencil, Lascaux, and Sennelier.

Schmincke Watercolour Fixative is a final fixative in aerosol form, formulated to protect watercolour paintings from fingerprints, dust, moisture, and environmental wear. It dries to a clear, colourless finish and helps preserve the appearance of the artwork without significantly altering the colours or surface texture.

When choosing a fixative, consider the type of media you are working with, the tooth and delicacy of the surface, how much colour change is acceptable, and whether you want to keep working on the piece.

For pastelists, choose a workable fixative if you are still building up layers. Use a final fixative only when the piece is finished. Bear in mind that fixative can darken pale colours, so you should test on a spare piece first.

For charcoal and graphite, a workable fixative is useful between layers. A final fixative seals the surface and makes the work safe to store and frame.

Some artists avoid fixative on pastel altogether. If colour change is a concern, framing behind glass may be the better option. Glass protects the surface from dust and handling without altering the appearance of the work.

For oil and acrylic painters, it is worth remembering that fixative is designed for dry media. Oil and acrylic paintings are typically protected with varnish: acrylic surfaces remain relatively soft and can trap dust, while unvarnished oil paint is more vulnerable to scratching and may become brittle over time.

Charcoal does not adhere well to dried oil paint. If applied while the paint is still wet, it mixes into the paint film and can be treated as part of the oil layer. When working with mixed media, however, such as applying charcoal over dry acrylic paint, a fixative can be used to secure the charcoal.

For a comprehensive look at the fixatives we offer, read 'Fixatives Are Not All The Same' on Jackson's Artists’ Blog.

For best results, place the artwork flat, remove any loose dust, and test the fixative on a small area first. Apply thin, even coats from the recommended distance, using smooth, consistent passes and allowing each coat to dry fully before applying the next. 

Fixative is always applied as a spray. A few simple steps will help you get a good result every time.

1. Test on a spare piece first. Fixative can alter the colour or sheen of dry media, particularly pastel. Always check the effect before spraying a finished work.
2. Hold the can at the distance recommended on the label. This is usually around 30cm. Too close, and the spray can be too wet and disturb the surface. Too far, and the coverage will be uneven.
3. Apply in thin, even coats. Use a slow, steady motion and keep the can moving. Do not hold the spray in one place. Several light coats give better results than one heavy coat.
4. Allow full drying time between coats. Most fixatives dry within minutes, but you should give it a little longer in cold or humid conditions. The surface should feel completely dry before you add another coat or continue working on top.

When applying fixative, make sure to work in a well-ventilated space. Most fixatives contain solvents and should not be used in an enclosed area without good airflow. You can find out more in our safety section below.

Fixatives are designed to bind pastel, charcoal, and graphite particles to the paper with a thin resin or casein layer. Once dry, they cannot usually be removed without damaging the drawing beneath.

If you use a workable fixative rather than a final fixative, you can continue drawing and building up layers of dry media on the sealed surface.

Fixatives contain solvents and other chemicals that need careful handling. Spectrafix Degas Fixative is an exception. It is water-based and comes in a pump bottle without any propellant. This means it is odourless. Many artists choose it for their coloured pencil work. 

There are a few simple rules that will keep you safe.

Always work in a well-ventilated space when applying fixative. This is the most important safety step. Most aerosol fixatives release fumes that are harmful to breathe. Open windows and doors, or work outside where possible. If you are using spray products regularly, consider wearing a suitable respirator mask. A basic dust mask is not enough – you need one rated for organic vapours.

Aerosol spray fixatives are flammable. Keep them away from open flames, sparks, and heat sources. This includes candles, gas hobs, and electric heaters. Do not smoke near these products. Store them in a cool, dry place away from direct sunlight. Always replace lids and caps tightly after use.

Avoid breathing in fumes from solvent-based products. If you feel dizzy, have a headache, or feel unwell while working, stop and get some fresh air straight away.

Some fixatives can irritate the skin. Wear gloves when handling solvent-based products. If any product comes into contact with your skin, wash it off quickly with soap and water. Keep products away from your eyes. If contact occurs, rinse with clean water and seek medical advice if needed.

Aerosol fixatives should always be used outdoors or in a space with strong airflow. Never use aerosol sprays near a naked flame. The propellant in aerosol cans is flammable. Keep cans away from radiators, sunlight, and other heat sources.

Disposal rules vary by local authority. In many areas, completely empty aerosol cans can be recycled, but part-full cans may need to be taken to a recycling centre or treated as hazardous waste. Check your local council guidance if you are unsure. Never pierce, crush, flatten, heat, or incinerate an aerosol fixative can, even when empty.

• Read the manufacturer's safety guidance before using any new product.
• Keep all products out of reach of children and pets.
• Label containers clearly, especially if you decant products into other jars.
• Wash hands thoroughly after use.
• Keep food and drink out of the studio when working with solvents.

For more guidance on staying safe in the studio, visit our Guide to Studio Safety.

Fixatives: Popular Questions from Artists

Fixatives Are Not All the Same

Oil Pastel Fixative Testing

A Guide To Varnish

A Guide To Mediums

A Guide To Studio Safety

Choosing The Right Frame for Your Artwork

A

Adhesion
The ability of paint or medium to stick to a surface or to previous layers of paint. Good adhesion prevents flaking, peeling, or cracking over time. Adhesion can be improved with specific mediums, grounds, or primers. It is important when working on non-traditional surfaces such as metal, glass, or plastic.

Alkyd Resin
A synthetic resin made from modified plant oils, used in artists' paints, mediums, and varnishes. It dries to a tough, flexible, non-yellowing film and requires milder solvents than natural resins.

Archival
A term used to describe materials that last a long time and resist damage. Archival panels, boards, and varnishes help to protect artwork. 

B 

Blending
The technique of smoothing and merging colours or tones for a soft transition.

Bristol Board
A thick, smooth drawing surface. Ideal for detailed pen, ink, and graphite work.

C

Cartridge Paper
A versatile, medium-weight drawing paper. Suitable for all dry media. It has a slight texture.

Charcoal
A carbon-based drawing material. Known for its deep black tones and expressive mark-making.

Clutch Pencil
A mechanical pencil. Holds a replaceable lead. Allows for continuous use without sharpening.

Colour Strength/Saturation  
Colour strength essentially refers to the ratio of pigment to binder; it is a description of how vibrant/brilliant the colour appears. Saturation is another term used to define colour strength. 

Conté Crayon
A hard pastel stick made from pigment, clay, and a binder. Used for rich, bold drawings.

D

Drawing Board
A rigid surface that supports your paper while drawing. 

Dusting Brush
A soft-bristled brush. Used to clean excess eraser shavings and graphite dust from a drawing surface.

E 

Eraser
A tool used to remove marks. Available in different types such as putty, plastic, and kneaded.

F

Fixative
A spray used to secure charcoal, pastel, or graphite to prevent smudging.

Flammability
The tendency of a solvent to produce vapours that can ignite easily when exposed to heat, flames, or sparks.

G

Glassine
A smooth, translucent paper used to protect drawings from smudging and dust. Commonly placed between sketchbook pages or used to wrap artwork for storage and transport.

Graphite
A smooth, grey drawing material. It is most commonly made into pencils and sticks. Available in different hardness levels.

Ground
A prepared surface that is applied to paper or board. Improves the adhesion of drawing materials.

K

Kneaded Eraser
A soft, mouldable eraser that lifts graphite and charcoal without leaving residue.

L

Layout Paper
A thin, translucent paper. Used for initial sketches and tracing.

Lightfastness/Permanence
Lightfastness or permanence indicates the degree to which a colour will fade or discolour as a result of exposure to natural sunlight. Paintmakers refer to either one of two scales designed to indicate the lightfastness of a colour – the American Society of Testing and Materials (ASTM) and the Blue Wool Scale (8 = most lightfast, 1 = least lightfast). 

ASTM I = Excellent Lightfastness

ASTM II = Good lightfastness

ASTM III = Fair lightfastness

ASTM IV = Fugitive

M

Mechanical Pencil
A refillable pencil that uses a fine lead. Ideal for precise drawing and technical work.

O

Opacity
The degree to which a medium covers a surface. Opaque materials block underlying layers, while transparent ones are like seeing through a window. This allows for subtle layering of colours.

P

Paper Stump
A tightly rolled paper tool. Used for blending graphite, charcoal, and pastel.

Pastel
A soft drawing material. Made from pigment and a binder. Available in soft, hard, or oil-based varieties.

Pencil Blend
A solvent used to blend and smooth coloured pencil marks.

Pigment
The coloured particles in materials. They are what determine hue, strength, and permanence.

S

Sheen
The measure of reflected light or glossiness from a dried surface finish. It is the primary factor that determines the visual lustre of an artwork, directly dictated by the type and concentration of the resin or binder used within the paint or medium.

Sketchbook
A bound book of drawing paper used for studies, sketches, and ideas.

Smudging
The act of softening marks using a finger, tissue, or blending tool for a blurred effect.

Soft Pastel
A stick of pastel colour and binder. Creates smooth, blendable marks.

U

Underpainting
An initial layer of drawing or paint. Used to establish composition and values.

V

Varnish
A protective coating applied to finished drawings. Helps to prevent fading and smudging.

W

Watersoluble Pencil
A coloured pencil that dissolves in water, creating a soft, washy effect. Often used in combination with watercolour paint.

Woodless Pencil
A pencil made of graphite without a wooden casing. This allows for thick and expressive marks.