When working with soft pastels, the question of fixative always comes up. Do you spray at all? If so, which one? The Sennelier Latour Artists’ Fixative, a 400ml aerosol can, is one of the more common options you’ll see in art supply shops. It’s specifically marketed for soft pastels, but how does it actually perform in a real studio setting?
I’ve been testing this fixative over several weeks, using it on a range of pastel papers and surfaces. The product is a clear, matte aerosol that claims to protect pastel work without altering the color or texture too much. In practice, it does a decent job of reducing smudging and dust fallout, though it’s not a magic bullet. After a few light coats, the pastel layers become more stable, but you still need to handle the piece with care. The fixative doesn’t turn a soft pastel into something indestructible; it just makes it less prone to immediate damage during framing or storage.
One key feature is the nozzle design. It produces a fine, even mist that helps avoid large droplets or puddles, which can ruin a pastel’s delicate surface. I found that holding the can about 12 to 18 inches away and applying in short bursts works best. Too close, and the fixative can soak into the paper and darken the pastel. Too far, and it lands unevenly. This is a common issue with most aerosol fixatives, so it’s not a unique drawback here.
However, there are limitations. The odor is noticeable, even in a well-ventilated room. It’s not overwhelming, but it’s there. You’ll want to use it in a space with good airflow or wear a respirator if you’re sensitive to solvents. Also, the 400ml can doesn’t last as long as you might think. If you’re working on multiple large pieces, you’ll go through it fairly quickly. The price per can is reasonable, but the cost adds up if you’re a heavy user.
Compared to using a workable fixative like Krylon or a cheaper aerosol from a generic brand, the Sennelier Latour feels more refined. The spray pattern is more consistent, and it doesn’t yellow over time, which is a plus for archival purposes. But if you’re on a tight budget, a generic matte fixative might suffice for practice pieces. The Sennelier is better suited for finished works where you want to preserve the original color and texture. It’s also worth noting that this fixative is designed for pastels specifically, not for charcoal or graphite, though it can work in a pinch. For those media, a different fixative might be more appropriate.
Who is this for? It’s a good choice for pastel artists who produce work they intend to sell or exhibit, and who want a reliable, predictable fixative. It’s also suitable for students who have a bit of budget and want to learn proper technique. It is not ideal for artists who work in very humid environments, as the fixative can sometimes cause the pastel to become sticky. It’s also not for those seeking a completely odorless solution. For quick sketches or practice pieces, a cheaper alternative might be more economical.
In summary, the Sennelier Latour Artists’ Fixative does what it says. It stabilizes soft pastels without ruining the surface. It has some drawbacks, like the odor and the limited can size, but it’s a solid tool for serious pastel work. If you’re looking for a fixative that won’t surprise you with poor results, this one is worth considering.