As far as descriptions communicating something about the observer, this is only true if the observer is not an omniscient one. Otherwise, if the observer is omniscient, the observer knows how everyone looks from every side, dear.

Also, as far as picking material for description, I think (I just got the idea) that points of description can be compared to hash keys. I mean it. You see, friend, our brains, have a faculty called memory, which works in a weird fashion, such that by thinking of a hash-key idea your memory recalls a whole network of information.

They say that to memorize a bit of information it is useful to imagine an image that is somehow related to the data you want to memorize. And the more memorable, colorful and remarkable an image the easier it will be, in the future, to recall the bit of info that it connects with.

So, I'm thinking, now, do character descriptions serve this job of a hash-key for our memories, helping us to remember the characters we read about? (Afterall, reading is learning, isn't it?)

Accordingly, it is logical to conclude that the points we want to describe are the points that make the character somehow outstanding, remarkable, different, unusual, strange, or even silly.

In any case, points of description are points of contrast relative to other characters. Like, if both Jane and Jill satin dresses, I don't want to describe them in the same way - I'll make sure to describe those aspects of the dress that are distinct, unless, of course, I want to communicate a sense of lacking individuality, like, let's say, in an army, where everyone wears the same type of clothing, where everyone is equaly as bald shaven as the next guy, and where everyone, pretty much, listens to orders.

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