Blocking the Figure: Thinking in Simple Shapes

One of the most helpful shifts in figure drawing is learning to see the body as a collection of simple shapes rather than a complex arrangement of details.

Blocking the figure is about organizing the pose before refining it.

Instead of starting with anatomy or outlines, you begin by establishing the major volumes and relationships. This gives you a clear foundation to build on and removes much of the intimidation that comes with drawing the human figure.

Why Blocking Comes First

When we look at a figure, it is easy to feel overwhelmed by everything happening at once.

There are curves, angles, muscles, folds, and subtle changes in form.

Blocking helps quiet that noise.

By reducing the figure to basic volumes, you can focus on:

• Overall proportion
• Balance and weight
• Spatial relationships
• Major directional changes

Rather than asking, “How do I draw this arm?” you start asking, “Where does this cylinder sit in space?”

That shift makes the problem much simpler.

Blocking is not about accuracy yet. It is about placement and structure.

Blocking works best when it’s built on a strong gesture. I talk more about that in Gesture First: Seeing the Figure Before Anatomy.

Turning Complex Forms Into Simple Shapes

At its core, blocking is about seeing everything as primitive forms.

Most of the figure can be simplified into:

• Boxes

• Cylinders

• Spheres

These shapes are not meant to be perfect. They are placeholders that help you establish scale and orientation.

I usually begin by placing a simple ribcage and pelvis, paying attention to how they tilt relative to each other. From there, I attach limbs as basic cylinders and indicate the head as a sphere.

Once those major forms feel grounded, everything else becomes easier to place.

Details can wait.

Big to Small Thinking

Blocking trains you to work from big to small.

First, you establish the largest masses.
Then you add medium forms.
Finally, you refine smaller shapes.

This approach prevents you from getting lost in detail too early.

If you start with fingers or facial features before the torso is established, the drawing often feels disconnected. When the big shapes are solid, the smaller ones naturally fall into place.

This principle applies just as much to sculpting as it does to drawing.

This big-to-small approach is something I also cover when talking about structuring drawing sessions in How I Approach Figure Drawing Practice.

Blocking in Two Dimensions and Three Dimensions

Blocking works the same way whether you are drawing or working in clay.

In drawing, you place simple shapes on the page to organize the pose.

In sculpture, you build those same shapes physically.

Both approaches rely on understanding volume and spatial relationships. Drawing helps train your eye to see these volumes, while sculpting makes them tangible.

Practicing blocking in two dimensions strengthens your ability to think in three dimensions.

A Simple Blocking Exercise

Try this during your next drawing session:

Start with a short pose and draw only the ribcage, pelvis, and limbs as basic shapes. No contour lines. No anatomy.

Give yourself one or two minutes.

Focus on:

• The tilt of the torso

• The direction of the limbs

• How the weight travels through the body

Repeat this several times.

You are not trying to make finished drawings. You are training your eye to organize form.

If you’re mixing quick sketches with longer studies, I break down how to use both effectively in Short Poses vs Long Poses in Figure Drawing.

Common Blocking Mistakes

A few things to watch out for:

• Jumping into detail too early

• Drawing outlines instead of volumes

• Ignoring the relationship between ribcage and pelvis

• Making all shapes symmetrical

• Forgetting about depth

If something feels off, simplify again. Go back to boxes and cylinders.

Blocking is about clarity, not perfection.

Closing Thoughts

Blocking the figure teaches you to think structurally.

It helps you break down complexity, understand proportion, and see the body as a collection of connected forms rather than isolated parts.

When combined with gesture and observation, blocking becomes a powerful tool for building drawings that feel grounded and dimensional.

Start simple. Build gradually. Let the figure reveal itself.