Block-in process
Reduce a subject to large shapes and lines first, checking proportion, placement, silhouette, and major masses before adding detail.
What it is
Block-in reduces what you see to large shapes and lines. You enclose the subject with a simple outer shape, then divide it into a few major pieces such as the head and torso.
Start with an envelope that marks the furthest top, bottom, left, and right points, along with major angles. Divide the envelope into large blocks and adjust their placement, proportion, silhouette, and tilt.
Use landmarks, such as corners, joints, and sharp bends, to guide adjustments. Compare positive shapes, the subject itself, with negative shapes, the gaps around it. The result is a flat map of the subject's main structure before rendering or detail.
Why it matters
A solid block-in helps you find proportion and placement before details make corrections harder. Weak control can cause details to shift, forms to drift, and the likeness to change as the drawing develops.
You can check it when
- ✓Stop at the block-in stage and check whether the subject reads without shading or detail.
- ✓Compare the block-in with the reference. Check the envelope, silhouette, tilt, and major masses before adding fine features.
- ✓Point to simple positive and negative shapes in the drawing, with few scratchy search lines.
- ✓Review your changes as you refine the block-in. Major redraws should give way to smaller corrections.