We often assume that the opposite of tension is relaxation, but is this true? By observing yourself in a state free from preconceived ideas, you may discover that the opposite of tension is collapse, and relaxation is a different state altogether . . . a state balanced between and transcending opposites, in which your ki flows freely with that of nature.

FROM CHAPTER 4: "LESSONS IN BRUSH MEDITATION"

Exercise Three:
Kaisho, Gyosho, and Sosho

The three most common script styles found in Japanese calligraphy are: kaisho (Figure 25), which is the equivalent of printing in English; gyosho (Figure 26), which is similar to semicursive writing; and sosho (Figure 27), which is equivalent to cursive English handwriting. Each illustration features the character kokoro, meaning "heart" or "soul," painted three different ways.

Each of these different scripts projects a different feeling, and each requires a unique state of mind. Studying kaisho, gyosho, and sosho allows you to understand and master divergent mental states. Try writing these three variants.

Kaisho
When using kaisho script, you will most clearly show the structure of the character. Note that the ends of certain strokes are tapered, and should have an almost organic appearance not unlike bamboo leaves and stems. Printed-style characters need a firm, but not stiff, demeanor. Inside each brush stroke is a central line. This personifies the movement of the center of the bristles and it must be kept steady. It is actually more of a mental line-a line of ki. This ki line must be drawn decisively in your mind. Rigidly trying to hold the hand steady is not the answer because this will only create lifeless characters.

Gyosho
While kaisho makes use of a superlative command of space, gyosho offers a strong sensation of visual rhythm. Rhythm is destroyed by tension, and semicursive-style characters will reveal when you are tightening your body and losing composure. In gyosho, it is acceptable to run some strokes together, and although in this case the word "heart" is painted in one continuous stroke, rhythm is still present. It is a rhythm of upward and downward pressure combined with thickness and thinness of line.