Blocking in Shapes: for Acrylic Figure Painting

Blocking in Shapes – How to Use Basic Shapes to Outline Your Figure

Card 6 of 52: Acrylic Figure Painting For Beginners Card Deck

This “Blocking In Shapes” post covers Card 6 of 52 of the Acrylic Figure Painting for Beginners: A Card Deck Guide. Why choose my art card deck tutorial over a book or YouTube video? Because cards are way more fun—especially if you have Adult ADHD like me, and flipping through them keeps things exciting!

If you’ve ever looked at a blank canvas and wondered, “Where do I even start with this figure?”—you’re not alone.

Figuring out how to approach painting a person can feel intimidating, especially when you’re still getting the hang of proportions and body structure. But don’t worry, there’s a tried-and-true technique that will make the whole process a lot easier: blocking in shapes.

Blocking in is one of the foundational steps for building a figure painting.

Before diving into the intricate details—such as facial features, folds in clothing, or muscle definition—you first need to create a simple, shape-based outline of your subject.

Think of this as sketching with big, bold strokes that capture the essence of the figure without getting bogged down in tiny details.

In this post, we’ll explore why blocking in shapes is a powerful tool for beginners, how to use basic shapes to create a solid outline, and some practical tips to help you master the technique.

Why Blocking In Shapes is Important

Blocking in shapes is an essential step for creating a balanced and well-proportioned figure.

Blocking in shapes allows you to:

• Simplify complex forms: The human body can be incredibly complex, with all its curves and angles. Breaking it down into basic shapes makes it easier to manage and understand.
• Ensure accurate proportions: By starting with large, simple shapes, you can ensure the overall proportions of your figure are correct before moving on to details.
• Prevent overworking the canvas: Jumping straight into details can lead to mistakes, frustration, and a messy canvas. Blocking in helps you map out your figure and make adjustments early on.
• Build a strong foundation: Just like a house needs a strong framework, your painting needs a strong structural base. Blocking in provides that framework.

The Basics of Blocking In: Seeing Your Figure as Shapes

At its core, blocking in is about seeing the human figure not as a person, but as a collection of simple geometric shapes.

Here’s a breakdown of how to use shapes to outline your figure:

1. The Head: The Oval

Start by drawing the head as an oval or an egg shape.

Don’t worry about getting every angle right—just focus on capturing the general size and placement. The head is your starting point, and it will help you figure out the proportions of the rest of the body.

When placing the head on the canvas, think about how it interacts with the rest of the figure.

Is it tilted forward, turned to the side, or perfectly upright? The direction of the head will influence the flow of the rest of the body.

2. The Torso: The Rectangle (or Cylinder)

Next, block in the torso using a simple rectangle or cylinder.

The torso is the largest shape in your figure and will set the tone for the body’s posture. If your figure is standing straight, you’ll draw a fairly upright rectangle. If they’re leaning or sitting, the rectangle may need to be angled or curved.

Consider the ribcage and pelvis as the two main parts of the torso.

The upper portion (ribcage) can be visualized as an oval, while the lower portion (pelvis) might be represented as a more compact shape—sometimes a triangle or trapezoid depending on the position of the hips.

3. The Arms and Legs: Cylinders or Tubes

For the limbs, use cylinders to represent the arms and legs.

These don’t have to be perfect—just long, tubular shapes that show where the arms and legs are positioned and how they’re bending. Pay attention to the overall length of the limbs and how they compare to the rest of the body.

Remember the 7.5 head rule (from Card 5) to make sure your proportions are accurate.

When blocking in arms and legs, consider the joints—shoulders, elbows, knees. These points are important to emphasize because they create movement and flexibility in your figure. Joints can be represented as small circles at the points where limbs bend.

4. The Hands and Feet: Simple Shapes

Hands and feet might feel daunting, but at this stage, keep it simple. Block them in with basic shapes—ovals or trapezoids for hands and feet.

Don’t worry about fingers or toes yet; those details will come later.

For now, you just want to get their placement and size right in relation to the rest of the figure.

Remember that hands and feet often interact with the environment. Are they resting on a surface, reaching for something, or dangling in space? Take note of their position to ensure they align with the overall pose.

5. The Neck and Spine: Simple Curves

Finally, sketch in the neck and spine using simple curved lines. The neck is often overlooked but serves as a key connection between the head and torso.

Use a cylinder or rectangle to represent the neck, adjusting the angle based on the position of the head.

The spine, meanwhile, is a subtle curve that runs down the back and informs the posture of the entire body.

Practical Tips for Effective Blocking In

Blocking in shapes sounds simple enough, but like anything in art, it takes practice.

Here are a few tips:

1. Start Light

When blocking in shapes, use a light hand with your brush or pencil.

You want to be able to adjust and erase easily as you refine your figure.

Light strokes allow for flexibility, and as you move forward, you can build up more confident lines.

2. Don’t Get Stuck on Perfection

Blocking in shapes is all about rough outlines and general forms.

Don’t worry if the shapes aren’t perfect or if they seem overly simplistic.

The goal at this stage is to lay the groundwork, not to create a finished piece. You’ll have plenty of time to add details later on.

3. Think In 3D

Even though you’re working on a flat surface, try to think about your shapes as three-dimensional objects.

For example, instead of drawing a flat oval for the head, imagine it as a sphere that occupies space.

This will help you maintain depth and realism as you build your figure.

4. Keep Adjusting

Blocking in is an iterative process. Don’t hesitate to erase and adjust shapes as you go.

As you add new parts of the figure, you may realize that an arm needs to be longer, or the torso needs to tilt more.

It’s better to make these adjustments early on while the shapes are simple than later when you’re deep into the details.

5. Step Back

Throughout the blocking-in process, remember to step back from your canvas regularly.

Viewing your work from a distance will help you see the figure as a whole and ensure that the proportions and shapes are in harmony.

Moving From Shapes to Details

Once you’ve blocked in your basic shapes and you’re happy with the proportions and positioning, it’s time to start adding detail. But don’t rush this step—take a moment to assess your blocked-in figure.

Are the proportions accurate?

Does the figure feel balanced and natural?

If everything looks good, you can begin refining your shapes into more detailed forms.

Start with the larger areas first, like the torso and limbs, before moving to smaller areas such as the hands, feet, and face. As you refine each part of the figure, you’ll replace the simple shapes with more realistic forms.

Replace simple shapes with realistic forms:

• The oval of the head will become a fully formed face with eyes, nose, and mouth.
• The cylinders of the arms and legs will turn into detailed limbs with muscles, joints, and curves.
• The rectangles and ovals of the torso will transform into a naturalistic depiction of the chest, abdomen, and hips.

This transition from blocking in shapes to adding details is where your figure truly comes to life. And because you’ve established a strong foundation, you can work confidently, knowing that your proportions are correct and the figure is balanced.

Free Online Resources For Learning How To Block In Shapes

Free online resources for learning how to block in shapes:

• How to block-in the figure (YouTube)
• Blocking in head shapes (YouTube)
• Drawing the figure with boxes and cylinders (YouTube)

George’s Conclusion: Blocking in Shapes

Blocking in shapes is one of the most useful tools for figure painting, especially for beginners.

When I was first taught to block in shapes, it was like being given a “confidence transplant”. I instantly realised that painting wasn’t as complicated as I thought.

Blocking in shapes simplifies the complex human form into manageable parts, helps you establish proportions, and provides a solid foundation for adding detail.

With practice, you’ll find that blocking in shapes becomes second nature, and your figure painting skills will improve dramatically.

Remember, figure painting is all about layering. Blocking in is just the first step in a longer process that includes refining, detailing, and adding color. But with a strong block-in, you set yourself up for success right from the start.