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Okay, okay, I have remained silent on this "'Artist's Perspective Eyepatch", but the time has come to come out.
I teach an advanced 3/4 oil portrait workshop. The idea is to work for 10 days on one model. I don't teach sight sizing in my workshops, I teach a variation of it that I call "brush sizing". Instead of placing and drawing the model exactly the size you see, an additional ratio calculation is done to enable you to draw the model any size you wish. In a 3/4 figure, you measure the model in "heads". A typical seated figure might be 5 1/2 heads down and 3 heads across.
My students make a grid of acetate with lines drawn an inch apart. This is suspended from a stand, and the artist stands in such a way that when he/she looks through the grid, the model's head fills one head box. The canvas is similarly gridded out, except the boxes on the canvas might be 7 inches instead of 1 inch. From the viewing stand, the artist determines what part of the anatomy is in each of the boxes, and transfers that information to the canvas boxes. When it comes time to place the features on the head, for more accurate small measurements, the artist reverts back to the "brush sizing" I taught in an earlier class. (Might I say this? I can think of no better way to draw in a dead-on correct figure in the shortest amount of time than this gridded technique....)
(Whew...)
The point to this is....the students are squinting through one eye for the better part of a day, the length of time it takes to do the gridded cartoon....and we wear eye patches. It started with the fatigue of closing one eye for such a long period. Some of the students began to make piecemeal eye pieces, taping black swatches to their eyes, or blocking off one eye glass piece. Finally, we went to the pharmacy and purchased a peck of peeper protectors.
Peggy
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