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A recent journey made me aware of the fact that I live and breathe my art. While packing toiletries for my trip, I actually caught myself thinking, “I wonder if anyone makes travel-sized cans of fixative spray?”
Perhaps fixative is better described as a tool, rather than a technique—but in many cases, this term fits the bill. The use of fixative is a subject of discussion among colored pencil artists. Some use it, others don’t. By its very nature, though, the medium often requires it.
Have you ever left a bar of chocolate sitting in the cupboard for a long time? (I know, that sounds like an impossibility—but bear with me here.) After a while, the cocoa butter will “bloom” out of the chocolate, creating a dusty white layer over the bar. The chocolate is still perfectly edible, odd as it looks.
In the same way, the wax from wax-based pencils will “bloom” out of a colored pencil work over time, especially if the work has been burnished. As with the chocolate, this effect is harmless. The dusty white wax bloom may be gently wiped from the work with a soft tissue, once again revealing the colors. However, since it’s best to handle artwork sparingly, there are times when prevention is the road to take.
So the question begins: When to fix? When not to fix? For me, the answer lies in the product itself.
Like any art supplies, the brands and types of fixative are many and varied. Here’s a quick run-down of the terms:
Workable Fixative: This is generally a lightweight formula intended for securing early layers of an art piece before further layers are added. Particularly useful for preventing smudging in graphite drawings. Workable fixative should prevent wax bloom, and may also be used as a final fixative when less protection is needed.
Final Fixative: A heavier formula, often available in gloss and matte versions. While it still may be worked over in emergency cases, it creates a “final” layer that does not hold mediums very well.
Gloss: Creates a shiny layer over the work.
Matte: Seals the piece without leaving any noticeable finish.
In the past, I would avoid using fixative as much as possible, simply because the spray would alter the colors, saturate the paper so that the color bled through to the other side, or—even worse— leave “oily” marks on the art. Recently, however, I’ve found that fixative is becoming so sophisticated that the tool may be embraced as a technique, rather than avoided as a burden.
Experimentation is key, and every artist will have their own favorites; but I’ve found Grumbacher workable and final fixatives and Prismacolor final fixative to be the most art-friendly. Unlike some other brands, these two do not have an overly strong odor, and the odor completely dissipates from the artwork in a short amount of time. Generally, these brands are lightweight—in other words, they will protect the piece without laying heavily on it. Color alteration is minimal—I’ve even come to appreciate the fact that a second layer of fixative will often result in more vivid color in my works. Thanks to the lightweight formulas, I can use that as a tool.
Of course, any spray fixative should be used in a well-ventilated area. Keeping this in mind, go grab a can and have fun experimenting with your art!
Text © 2007 Christine Taylor, all Rights Reserved
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