Jisei-budô Manual - vol 1 :
This guidebook describes the general techniques and is a practical aid for all levels.
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Punches Definition of a punch What is punching in the art of combat ?
A punch is destined to be landed on one's opponent.
At the same time, a punching technique must ensure your own safety in combat, since your opponent will be trying to hit you as well.
That is, you have to be able to deliver a blow without receiving one from your opponent. So the fundamental technical idea is to « hit without being hit ». How to do it ?
That's the fundamental question in developing a punching technique. Be aware that your moment of greatest vulnerability comes when you attack, because you will never hit your opponent unless you place yourself within sufficient range. You can't touch your adversary without getting in close enough for your hand to reach him. This obvious fact is often neglected, since combat is practiced taking a distance between opponents. And when you can hit your opponent, he is within range to hit you as well. What is more, when you reach out with your arm to strike, your body and especially your face are left open to attack, because it is impossible to hit your target without removing your hand from in front of your face. With this affirmation, you have a first answer to the question of the posture to be taken. Two hands working in combination
You only have two hands. If one of them is moved away from your face, the other one must be there protecting it, for your face is the most important thing in percussion combat.
This simple observation brings us to a first conclusion: when you strike with one hand, the other should be close to the face guarding it. This is what determines the hikité (or draw hand) position.
Always remember : both hands must work in perfect cooperation. If one hand strikes, the other must protect you. In combat, both hands must be kept close to the face. That is the basic principle. Vulnerability area
This second point, which is often neglected, is important.
When throwing a punch, you extend your arm, so you get the impression that you can deliver a direct hit following the line of the straightened arm. But a punch is always « oblique », or on an angle to the body, because of the position of the shoulder.
Let us diagram this, as simply as possible. Adopt a fighting position and stretch out both arms bringing your two fists together, one above the other. Between your arms, you'll see a triangular area. Always remember that this space is the « blind » spot for someone launching a punch - the area where he is vulnerable. Because it is a close range zone, but you can't get a direct punch in with a straightened elbow. When sparring at long range, you first throw long punches straightening your elbow. When this is the case, if your opponent gets within this triangular area, you can't hit him. You can only manage to hit him by using a short-range punch. Or take the opposite case: if your opponent is keeping his distance, you won't try hitting him with a short-range punch. If you allow an adept grappling fighter to penetrate this space, you will be in serious trouble. In other words, the grappling practitioner, when faced with percussion technique, will always try to get inside this blind spot to avoid long punches. The thing to note is this : a punch is always more or less oblique taking into account the position of the shoulder. Where blocking occurs
When you foil your opponent's fist attack, it is not because you directly block his fist, but usually because you touch his arm.
Let's look at it another way. How are your own punches thwarted? Your fist might happen to hit your opponent's arm, but in most cases it's your arm that collides with or touches his.
So defense is mainly applied to the whole length of the arm and not only to the point of the fist. It is easier to parry a length than a point. This is also the principle behind the « kôsa-hô » technique, or crossed arms method for blocking and for attack. We will see this later.
For now, remember : when your punch fails, usually it is because your arm collides with or touches your opponent's arm. To score a punch, you have to learn to get your fist in without making contact with your opponent's arm. The base of the arm is the shoulder.
Therefore, to build up the efficiency of your punches, you have to take into account the position of the shoulder and of the flexion point of the arm - i.e., the elbow.
In examining the reasons for the success and failure of punches, I have arrived at 8 types of punching, which can be applied depending on the situation.
The 8 punching techniques
With each technique, when you strike with one hand, the other must be up close to the face. Stage 1 1- Hira zuki : Horizontal fist punch: the fist is held horizontal.
2- Nagé-zuki : Oblique fist thrust : the fist is held at an angle and the strike is made with the second knuckle of the forefinger. The path of the thrust is the same as when throwing a ball. This strike is also called «nagé tsuki», or throwing punch. 
3- Taté zuki : Vertical fist punch: the fist is held vertically. In karate, this punch is called « tate ken » : vertical punch. It is closer to peng chuan in xingyi chuan. The elbow should be aimed downward and should not be completely tensed.
4- Ura zuki : Inverted fist punch : the back of the fist is aimed downward and the elbow is not completely tensed. 
5- Mawashi zuki : Roundhouse punch : the elbow is pointing outward. The thrust follows a circular path. The hinges are powerfully activated, avoiding agitation of the arms.
6- Age zuki : Rising punch : the strike is made by bringing the fist up almost as in an « upper cut ». The hinges are powerfully activated obliquely. 
7- Hiji uchi : Elbow strike : strongly activate the hinges. Your aim is not only to strike with the elbow. Before utilising the elbow, you must be ready to strike with your hand.
8- Kaishu uchi : Open hand strike : your hand is supple in this strike, not hardened as in the « teishô » in karate. The strike path is variable : vertical, oblique, horizontal. The striking motion must be supple like the trunk of an elephant. 
The four first punches are used when a long blow is needed.
The fifth and sixth are for medium distance.
The seventh is for short distance.
The eighth is for long and medium distances. Practice each punch with a move in yori-ashi: move front leg first, then the back leg.
Stage 2
Practice the 8 punching techniques successively using both fists, linking the kizami-zuki and the gyaku zuki, with a single step. Stage 3
Practice the 8 punching techniques successively with both fists, linking the kizami-zuki and the gyaku zuki with a double step. Stage 4
Practice the 8 punching techniques with an oblique step, in jun-zuki, and then in gyaku-zuki. Stage 5
Practice each punch oblique to the body in gyaku zuki, then in jun-zuki.
Practicing the punch oblique to the body is essential for application in free combat.
| PART ONE |
1. | The jiseï-budô method |
1.1 | Development of the method |
1.2 | Using protection |
1.3 | Experimenting with techniques |
1.4 | Technical role of kikô |
2. | Technical training |
2.1 | The 5 shôshûten preparatory katas |
2.2 | Ritsu zen |
2.3 | Preparatory exercises |
2.4 | Bidô-hô : subtle movement method |
2.5 | Neri |
2.6 | The base exercise of daïshûten |
3. | Punches |
3.1 | Preparatory exercise |
3.2 | Punch definition |
3.3 | The 8 punching techniques |
4. | Footwork |
4.1 | Movement by propulsion |
4.1 | Movement by immersion |
5. | Kicks |
5.1 | Preparatory exercise |
5.2 | Training principle |
5.3 | Efficiency of kicks |
5.4 | Keri no kata shodan (1st ) |
5.5 | Keri no kata Nidan (2nd ) |
6. | Defence techniques |
6.1 | Defence technique preparation |
6.2 | Defence techniques against punches |
6.3 | Against kicks |
7. | The kata |
7.1 | Based on karate |
7.2 | Based on Chen tai chi |
7.3 | Synthesis tai chi |
7.4 | Reference kata |
8. | Sparring |
8.1 | Why use protective gear |
8.2 | Sparring with protections |
8.3 | Description of how protections are used for combat |