Chapter 17 begins with Edwards further taking the reader in ways to grasps the concept of ‘sighting’ … how to use it with understanding relationships and proportions. Sighting uses comparison when gauging the size of the object to be drawn. She expressed the difficulty with explaining the concept is that it’s not easily translatable into language. However, she equates it to being like ‘grammar’ structure within a verbal language. She shares three exercises to gain a better understanding of using sighting. From using a clear sheet grid, her students were able to begin the structure of seeing in accordance with other objects. In another exercise she gives instructions to her readers to use a pencil as an aid in gauging the distances of the objects being drawn.
In chapter 18 she identifies another drawing concept to support the accuracy of seeing. This is the ability to see light and shadow. Part of teaching the visual skills of seeing, is understanding that light behaves in predictable ways, consistently. The use of light also changes the way an object or a face may appear, and to become aware of these before beginning to draw. She takes the reader through several other exercises to help demonstrate the use of light and shadows, as well as sharing strategies in how to arrange light so that shadows give the best image. As a final thought for the chapter, Edwards returns the reader to consider using shadow and light, to make up the composition of the drawing, with the focus on what makes the image, the most memorable within one’s mind. How is it the most unique, and to be aware of how the left brain may become limiting to one’s ability to see.
I encourage you to buy a copy of Drawing on the Artist Within for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book.