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Pentatonic

The Pentatonic spelling can be constructed by removing the half steps in the Diatonic scale; and, the selection doesn’t leave an augmented interval. Therefore also, it is “simply” a subset of the same Tetrachords in the Diatonic! (All of the shapes will share that elided tone shape.)

So it could be approached from the Diatonic that way. It could also be approached first, with the tones elided  from most of the same figures that you’ve seen here. And a matching set of Tetrachord diagrams, could be the reduced parallel set: 6-1, and 2-3.

Blues

Just like the scale, it can be approached from the Pentatonic; by adding the ♭Ⅲ (or the ♭Ⅴ in minor). Yes: we’ve silently inferred that it’s “easy” to approach the Blues scale from the Pentatonic; and, therefore you’ll be looking to have familiarity with that! And you may feel that there’s another set of Shapes to learn for that.

Notice that the reverse perspective can be from familiarity with the Pentatonics first; and then “adding in” the Blues, and the Diatonic too — or in fact, from the Diatonic first, just as easily. If you’re thinking about which scale or book to pick up first; then we’d have to leave the choice up to you; and perhaps advice from a qualified instructor. It could be dependent on your own style, or preferences, and many other things — which we couldn’t advise about here. However, we will add that it’s clear there are three scales that we’ve pointed out here, and four including Bebop (and even the altered minors as well), that all solidly adhere to the Diatonic shapes (and we do feel strongly that the Diatonic is not too hard to learn confidently; and nor are the modifications).

Note also that both the Pentatonic and Blues scales are most often approached from the minor modes.