5 Ways of Attack – Attack by Drawing

Attack by Drawing: Way of attack popularized by Bruce Lee (Jeet Kune Do) which aims at pushing somebody to make an action. The five ways of attack were part of the last technical explanations of Bruce Lee, very little time before its death.

To hell with circumstances; I create opportunities. – Bruce Lee

The attack by drawing can be an attack or a counter-attack which is based on a trap fixed in advance. This kind of attack asks for a certain acting talent. You must convince the adversary that “there is no plan”. You must create situations of vulnerability by the use of pretences, provocations and traps by knowing in advance the reaction of the adversary. When the adversary falls into the trap, you attack. You must aim at the body automatic response. A particular action brings a given reaction. The reaction is then predictable. You must remain vigilant for the action which will follow the reaction of the opponent.

The attack by drawing is like fishing. Our actions and our positioning, is the bait. The reaction of the adversary is the fish biting. Our attack on the reaction of the adversary is the fisherman who succeeded.

The attack by drawing requires a good general knowledge of fighting. The rhythm and the timing must be developed to be able to act with effectiveness. You can draw a huge benefit on the damage with the attack by drawing because the energy of your attack is combined with the reaction of the adversary.
attaque en provocation

At lot of athletes use the attack by drawing in combat sports. Garry Tonon and Jeff Glover use this kind of attack in grappling. Demetrious Johnson, Connor Mcgregor, Anderson Silva and Michael Page are good examples of athletes mastering in the art of provocation (in striking).

The best way to practice the attack by drawing is sparring with different partners. If you always do sparring with the same person, he will easily guess what you are planning. Even if beginners does not control the attack by drawing, they must stay alert not to fall into certain traps. The role of the trainer is to sensitize the athlete with these tricks with which he will be possibly confronted.

There is many ways to fool the adversary to launch an attack by drawing:

  • To open the guard (to leave an opening) – examples: To leave the hands with a wide space in the center to incite an attack in the center, To lower the guard to incite an attack to the head.
  • To leave a target – examples: To advance the front leg to incite an attack with the leg, To advance the hand forward so that the adversary can touch it.
  • To trap with the footwork (leg movement) – examples: To move back to force the opponent to advance and counter when he advances, To advance and move back at once so that the adversary is accustomed to a certain distance.
  • To make calculated mistakes – examples: To move back the awkward manner to increase your opponent confidence when moving forward , Drop our hands after the strikes to leave the head open and incite a counter-attack to the head.
  • Body language – examples: To change level (height) so that the adversary imitates the movement, To make believe be hurt so that the adversary attacks in the same place (acting).
  • Language of the eyes – examples: To look at the body, strikes with the head or to look in the eyes and strike to the body, To look at the feet and to launch a jab (the eyes have tendencies to follow the eyes of the others).


5 Ways of Attack – Attack by Combination

The Attack by Combination is a sequence of strikes which aims at reaching the target wished by creating openings through multiple strikes in a row.

The Attack in Combination can take place in several phases of the combat: Striking feet/fists, Close combat, ground fighting(Ground and Pound). To achieve an effective combination, the various strikes that are launched must respect certain elements: direction, the distance, the angle of attack, power, rhythm and timing.

  • The Direction – the attack can be in a straight line (jab, direct, frontal kick…), curved line (hook, circular kick…), to the head, to the body, to the legs…
  • The Distance – the attack can be from short distance (Close combat, on the ground…) or from long distance (Striking distance). The distance can be modified during the combination…
  • The Angle of attack – the position of my body compared to the adversaire.
  • The Power – the blows launched during the combination are not always powerful. One can reduce the power of the strikes which are used to create openings and to keep our power shots intended to touch the target…
  • The Rhythm – the combination can have a regular rhythm (1, 2.3) or irregular (1, pause, 2.3)…
  • The Timing – the combination must be sent to the good moment, one must study the adversary and develop a strategy to act at the good moment…

One can mix all these elements to build combinations which will be used to put an end to the combat.


Logic implies that one must mix rectilinear strikings (online right) with curved strikings (on the sides) by adjusting the levels (the height of strikings). The majority of the combinations throw in the phase (feet/fists) start with a jab. The jab is a long and fast weapon. It can be used for creating openings, camouflaging next strikings, taking a position, reducing the distance, etc the direct one is slower but it causes more damage. One can thus choose it to put at the medium or a combination. The hooks and the uppercuts are powerful strikings of short distances. One must thus approach to launch them. The kicks are more often used to finish the combinations.

The attack in combination is not always easy to succeed for the simple reason which the adversary can counter. One wants to lead our opponent to protect a party from the body and to continue the combination on the parts which are not protected.

example: One can start with a jab with the head, the adversary assembles the guard to be protected and is left with discovered for direct with the body. One can thus continue the combination with a front hook with the head to send the adversary towards our strong side and to finish with a circular kick postpones with the head.

One should not reveal our game.

Our eyes and our body language can harm the good performance of our combinations OR help us to make our combinations more effective. By looking at the targets before striking, one indicates to the adversary the place of the next attack. One can efficiently use our eyes during our combinations.

example: I send direct, I fix my attention on his leg before and I launch a circular kick before to the head.


The way in which the body is placed can also be to use. One must pay a special attention to our position (all the body) when our combinations are launched. Is this my positon reveals my next action? Can I adopt a position which can mislead the adversary vis-a-vis my next action? …

5 Ways of Attack – Progressive Indirect Attack

The Progressive Indirect Attack is an offensive action preceded by a feint or a light strike with an aim of misleading the adversary. The feint or the light striking can be used for creating openings, causing a reaction, creating space or saving time.

An adversary which has a good and compact guard is difficult to reach with a simple attack. With the Progressive Indirect Attack, which is based on the feints, you can lead your opponent to open his guard to block or avoid your strikes. When the adversary opens while following the trajectory of the feint, you can attack the opening. You can make more than one feint, without exaggerating too much.

  • The feints must be convincing and fast to increase the chances to have a reaction of the adversary. The feints can be used for causing a reaction, reducing the distance, modifying positioning and saving time.
  • Striking following to the feint must be on a different line. It must be fast and precise. The rhythm can be broken to surprise and disorganize the adversary.

The Rhythm

When one speaks about rhythm in combat, it is the time intervals between our actions. The rhythm can be given with strikes, movements of head, footwork etc. The rhythm can be regular or irregular. It can also be broken. When you become aware of the rhythm, you can control it and use it with your advantage. You can change your speed during the combat and adjust according to what occurs (to find the good rhythm which favours you compared to the adversary).

During the fight, you can give a regular and slow beat “to hypnotize” your adversary and to study his reactions. When its reactions is analyzed, you can launch a Progressive Indirect Attack with a faster rhythm. (beats / half-beats)

The Distance

The Progressive Indirect Attack is generally carried out forwards. Thanks to the feints, you can not only create an opening but also gain the distance wished to launch the attack which will reach the selected target.

The Feints

There is several types of feints and they have all their utilities. To make an effective feint, it is necessary to be credible, the movements must be realistic.

Here are a few types of feints:

  • Body/Head feints – Feint having for goal to create an opening to the body or the head
  • Shifting feints – Feint having for goal to cause a reaction of the adversary and thus to compromise its position.
  • Eye feints – Feint having for goal to distract and draw attention at a particular place.
  • Technical feints – Feint having for goal to cause a reaction by acting the beginning of a technique and to continue with another thing.
  • Other feints – One can make movements with the arms to confuse the adversary, one can strike completely beside a target to make the adversary move, etc…

Programmed Feint: Consist in feinting the first blow in order to reach a target supposed to be uncovered with the second blow. The one who makes the feint must anticipate the reaction of the adversary.

Adaptive Feint: Consist in evaluating the reaction of the adversary when the feint is thrown and take the opportunity to attack the openings.


Here is a short list of Progressive Indirect Attacks

  • feint jab, lead hook
  • feint jab, outside low kick
  • feint jab, side kick
  • feint jab, feint jab to body, overhand
  • feint jab to body, rear uppercut
  • feint cross, rear high kick
  • feint outside low kick, low kick on rear leg
  • feint outside low kick, rear super man punch
  • feint lead push kick, jab
  • Look the feet, jab
  • feint spinning back fist, spinning back kick

5 Ways of Attack – Immobilization Attack

The Immobilization Attack is an offensive action made possible due to the immobilization of one or more members of the adversary.

In martial arts, one speaks about immobilization when an action which makes it possible to control the movements of the adversary. It limits the opponent number of attacks and creates openings. The immobilization can be of short time (fraction of a second) or it can also be maintained (to prevent the adversary from getting clear). The unfavourable combatant who is immobilized can be more foreseeable and can also compromise his balance. He is thus more vulnerable.

The first stage for the execution of The Immobilization Attack is to find the good distance.

In “Striking Mode” and in “Clinch”, one must reduce the distance with an aim to immobilize an element of the adversary to attack it. Feints are very good tools to reduce the distance with a maximum of security. One can immobilize several parts (the hands, the legs, the head, the body…). In the phase of “Grappling”, the attack with immobilization is more frequent. The distance being already reached, the goal is to maintain the position with an aim of exerting a control which will limit the defense of the adversary.

The Immobilization Attack in Striking

  • The method of attack with the most popular immobilization in my opinion, in stand up stance, is the “Trapping” or “Hand Trap”. The goal of the “Trapping” is to wedge or remove a weapon of the adversary to prevent it from attacking and creating an opening or an opportunity. Vasyl Lomachenko is a boxer who frequently uses “Hand Trap”.


  • To catch the leg of the adversary is another popular way to carry out an attack with immobilization. One wants to catch the leg of the adversary when it launches a kick and to strike back with an offensive action while he is in balance on a foot.


  • In the Clinch position, there is a lot of techniques of immobilization attack. The best techniques of immobilization in clinch are those where one is able to control the two arms of our adversary, with only one arm.


The Immobilization Attack in Grappling

The Fighting on the Ground brings more possibilities for attack with immobilization. Contrary to the stand up game, one can make use much more of his body to control an element of the adversary. Especially used for the “Ground and Pound”, it is not impossible to use the attack with immobilization to carry out a submission or to improve your positioning. One can also use the “Trapping” when one is in “Full Mount”.

Khabib Nurmagomedov is the one which, in my opinion, became the Master in the art of the attack with immobilization. With its great force and its background in Sambo, he have a great control on its adversary.

5 Ways of Attack – Single Direct Attack

The Single Direct Attack is an offensive action carried out from point A to the point B, contrary to a combine attack (Attack by combination, Progressive indirect attack…). The Single Direct Attack can be done in a straight line or in angle by using the principle of economy of motion and simplicity.

Body Angle  VS Striking Angle

It is necessary to differentiate the angle of the body and the angle of the strikes.

  • The angle of the body is your positioning compared to the adversary.
  • The angle of the strikes is the trajectory of each blow.

Single Direct Attack in a straight forward motion

The Single Direct Attack is the easiest way to carry out an attack. The body is in a ready position (neutral angle) with a stable position. The angle of the body is neutral but the strikes can come from various angles (the jab and the cross in a straight line – the hooks on a curved line …). The blows are launched from the initial position without fancy footwork. To be effective, the timing and the distance will have to be perfect. The attack must “not be telegraphed” to add an element of surprise. The rhythm and the precision are elements to be controlled to perform the Single Direct Attack.


Single Direct Attack in a straight forward motion – Jab


Single Direct Attack in a straight forward motion - Outside Low Kick

Single Direct Attack in a straight forward motion – Outside Low Kick


Single Direct Attack in an angle

Once the simple attack direct in a straight forward motion is learned, one can now change the angle of the body while attacking. The angle can be created in several ways:

  • While advancing – When you attack while advancing, you decrease the distance between you and the adversary.
  • While moving back – When you attack while moving back, you increase the distance between you and the adversary.
  • With a step on the side – While moving on side, it is probable to see openings in the guard of our adversary.
  • With a pivot – the pivot obliges our adversary to be readjusted. It enables us to attack in angle and to give us time to do it.
  • By modifying the level (height) – With a light forward tilt and by folding the knees, the punches are launched starting from a different height. By modifying the level, it can also help us to avoid a counter-attack of the adversary.
Single Direct Attack in Angle - Jab

Single Direct Attack in Angle – Jab


Single Direct Attack in angle - Outside Low Kick

Single Direct Attack in Angle – Outside Low Kick

Certain ways of creating the angle of attack can be combined. example: I can advance and modify my level at the same time…

Balance and positioning are the key behind the Single Direct Attack in angle. The distribution of the weight must be considered (the weight of the body in the center or on the side).

The ideal position is the one which offers you a better potential of attack compared to the potential of attack of the adversary. In other words, it is preferable to strike from a position where the adversary cannot strike you.

The Best Martial Art

Every fighter is unique

The fight is defined not only on the fighter’s technique. The beginners often have tendency to imitate their idols, their instructors and their partners. It is with time that every martial artist develops his own style. I think that it is important to explain that I want to tell by style first of all to tell difference between martial art and style.

Style: a particular manner or technique by which something is done, created, or performed – merriam-webster

It is easily possible to become confused with style (martial art) and style (way to practice it).

Strengths and weaknesses of different combat sports

I am conscious that there are several styles inside combat sports here are different combat sports (martial arts) with their strengths and their weaknesses.


  • Positive: Good Footwork, Good head motion, Good position of hands, Blows are very powerful.
  • Negative: Incomplete clinch, No defense against attacks on legs, No Grappling.


Muay Thai:

  • Positive: Powerful kicks, Good clinch (Thai), Good variation elbow and knee in close combat, Good sweeps.
  • Negative: Narrow position of the feet (who becomes more vulnerable to takedowns), Variation of kicks often limited (round-house, push-kick), No works on the ground.



  • Positive: Very powerful, good control of the centre of gravity, Good takedowns, Good footwork.
  • Negative: Limited defense on the ground, No strikes, Stance is very low and very broad (prevents the speed of execution of the kicks – back leg), Absence of Ground and Pound.



  • Positive: Very great work on the ground (attack and defence), very good for a more defensive style, efficient techniques to put an end to the fight.
  • Negative: Traditional uniform (for those who make of “Gi”), No Strikes, Stance which does not defend against striking, Absence of Ground and Pound.


The styles which are adopted are the prisons of our expression

Although it is essential to learn the science of combat through a martial art (Boxing, Muay Thai, Struggle, BJJ), most of them have rules. With time, you need to be liberated from all rules to obtain a result near the reality of combat and so, to express your style entirely. A fighter with no style is an unpredictable fighter. It is not the technique which makes the fighter. There are martial arts that moves in straight line, others who move in a more circular way. They have their strengths and their weaknesses. Apply the qualities of each of them.

How do I develop my own style?

First of all, know yourself: temperament, capacity, potential. Which are your strenghts, your weaknesses. If you are small and quick, why not to study Manny Pacquiao’s boxing. If I am big and powerful, why not to look at the Fedor Emelianenko’s style. You will, with practice, develop your own style according to what you are. Always keep in mind principles such as science, simplicity, fun … to guide you.

A fight is a group of movements performed with the intention to beat an adversary. These movements are called techniques which consist in putting traps, in seeding confusion finally to put an end to battle. The fighter plans his actions by studying his opponent. He anticipates the movements of the adversary by provoking him to create one reaction. A complete fighter is the one who will be able to fit to all situations. Your style is defined by the way you move.

Maximize the Damage of Low Kicks

In the world of Martial arts, a low kick it is not only a low kick, but also it is the tool which can change the outcome of the fight. When the blow is well thrown, we can make a lot of damage on the leg of our opponent and make him more on the defensive.

It is possible to throw the low kick with the lower part of the shin (near the ankle), to setup a combination, a distraction, but it is not the ideal to end a fight. When we throw the low kick to make damage, we want to give the strike with upper party of the shin (below the knee). To strike well the opponent on the thigh, several elements are to be taken into account:

  • The Positioning – Find the good distance from the opponent, the good angle of attack (position of feet), the good alignment of the body, the right position for attack and defense.
  • The Timing – Hit at the right time ex: when the person moves forward or in combination (see the article on the precision and the timing).
  • The Motion and the Trajectory – Include all the details which make a powerful kick (Turn shoulders, swing the arms, turn hips at the right time, throw the leg towards the target with a good trajectory). The trajectory depends on the target and on its position (inside of the thigh, outside of the thigh, my opponent in its low center of gravity …).
  • The Angle of the Kick – We want to hit in a way that the trajectory of the kick ends perpendicularly on the surface of the target.
  • The Surface of Impact – The more the surface of impact is small, the more the strength will be concentrated. (Stomp kick with the heel from Jon Jones).
  • The Power – The flow of energy necessary for the execution.

When the opponent moves forward to throw a jab, he puts his weight on his front leg, then he will have much more difficulty checking it, BANG – low kick. When the opponent backs up after my jab, BANG – low kick. A low kick with a good timing maybe very difficult to block. Variation can be a key element to be effective with low kicks. Even if a technique is effective, it is an error to throw it always in the same way. Adopt several techniques and include them in your combinations to get your own way and adopt also a multitude of manners to throw your techniques.

Low Kicks Classification

The movement of the opponent is going to dictate us the way the blow will be thrown and the location of the target (the place to hit on the thigh).

There is several way to throw a kick to the thigh of his opponent. Here is some techniques frequently used:


The outside low kick


The inside low kick


The low kick on the rear leg


The stomp low side kick


The stomp or oblique kick

The practice is essential to develop low kicks. We have to repeat the movements on punching bags, shadow, sparring, to obtain most possible efficiency.

Precision and Timing

The precision of the movements it is the accuracy of the projection of a strength towards a point in the space. It is the perfect control of its body to strike a target.

The precision can take 2 forms:

  1. Precision on a motionless target
  2. Precision on a mobile target

The timing it is the skill to choose the best moment for one action, a movement etc. The timing can multiply the strength and divide the effort required. We have to find the good distance, make the good movement, wait for the good moment and have feet placed well on the ground.

precision and timing

The power of strike is not enough for the K.O.

In the world of the martial arts, the muscular power is an element to be considered but it is better to have a good technique of strike to cause a Knock Out. The skill of the athlete to send a strike on a precise target and the impact point surpasses the importance of the power of strike.

We can take the initiative to hit to provoke a reaction. We should always hit for a reason without indicating our intentions and not hitting with hope to touch. There are many elements we have to work to give to our strikes a precision which will have a maximum of impact with a minimum of effort: economy of energy, release the tension in muscles, increase numbers of targets and decrease their size etc.

In a fight, we are in fusion (relation) with the opponent who is in movement and who does not stay still. The person in front of you reflects what you are. We always have to be in movement by identifying and by following what is in movement. We constantly have to change (to vary), while being able to identify what is in constant change. Our posture has to allow us to hit from any position by keeping our balance. It is necessary to anticipate the movements of the opponent to adapt itself to its actions.

Impose the “tone” (set the pace) and the control of the distance are two manners to establish a good position to strike.

The fact of establishing a rhythm and of breaking the rhythm can allow us to hit at the right time.

In summary, we have to hit at the right time, at the right target and be in good position to have of the precision and the timing.

How to work the precision and the timing?

Tennis ball and elastic(rubber band)
Focus-Pad with a partner

Improve your Speed

Speed is composed of several elements which are necessary for martial arts:

  • Identification
  • Reaction
  • Vivacity
  • Endurance

Some important principles to focus when one works on speed in combat sports. – Agility, mobility, balance, coordination, flexibility, endurance, awareness, anticipation.

When an athlete train himself with weights to improve his speed, it should not leave balance, coordination, flexibility, endurance and mobility on the side.


Speed of the movement and speed of the brain

  • Speed of the movement: To understand the speed of the movement, one must take several things in consideration. The position at a given time and the impulse must always work together. A good warm-up, will loosen up the muscles and will limit the risk of injuries. The posture enables us to be relaxed and in good position to act as soon as possible while keeping the balance. Endurance and speed are the keys for success during the fight. The fast and repetitive blows drains a lot of energy. You must train endurance, economy of energy and economy of motion.
  • Speed of the brain: Relaxation is a significant component to reach speed in execution. Even if the speed of the movement is measured in a “physical” way, one must first of all be in a relaxed state of mind. One must be in the present moment to accentuate the perception, sensitivity of what surrounds us (awareness). Sensitivity of our senses: touch, hearing, sight… To capitalize on the position and movements of the adversary. Think quick and you will act quick. The reaction speed include multiple stages: perception, analyses, muscular action. The eyes detect a target, the brain receives the information and the brain send an instruction to the muscles to act.

The peripheral vision allows the high-speed perception of movements. It gives the total information of the field of view as a whole. The fovea vision for its part, stops on a point to obtain more detailed information. The peripheral vision then gives as quickly as possible a general impression of a visual situation. Improving the peripheral vision increases the speed of execution in the majority of martial arts.

Exercises to work speed:

  • Shadow-boxing: Include Foot-work, head movements, level changes, rhythm, while striking. It is essential to know to relaxe your body and your muscles to work on your speed. No resistance is exerted on our body the one can reach maximum speed in techniques and recover faster (ready position).
  • Ladder drills: Great for foot-work and coordination.
  • Speed-bag: Good for hand speed, endurance, precision, rhythm, timing, and coordination.
  • Focus-bag: Good for precision, rhythm, timing, head movements and coordination.
  • Bag work: You can hit the bag the faster you can with the perfect technique for 10 to 20 sec. then take a 10 to 20 sec. break and repeat for a complete round.

Simplicity in Martial Arts

In the world of martial arts, all fighters have their way to fight. More “the game” is complex, less the fighter can be expressed at full capacity. Put the ego aside, put our thoughts aside. Get overwhelmed by the present moment. If we think before the hit, it’s already too late. By being in the present moment, we can detach from our conscience and get rid of fear, anger, stress… ‘Méditation’ – ‘Flow State’

Click here for Free Flow State Training


In every fighting sport, boxing, kickboxing, muay thai, wrestling, JIU-Jitsu, mma, etc., we aim effectiveness of the movement. In the movement of the opponent, you can see its weaknesses. We take advantage on the position of his feet, the position of his hands, or the rhythm of the opponent and attack at the time deemed appropriate. By remaining fluid, without stress, relaxed, we can respond more quickly to the actions of the person facing us. Our actions must reflect his mistakes. We have to take full responsibility and accept the consequences of our actions by trusting our instincts.

Effective action will be defined in its simplicity.
example:-weapon closest on the nearest target

Act and not react. Keep what is works and set aside what is not working. What does not work on someone can work on someone else. That’s why we need to be able to adapt to any opponent matter his fighting style.


The martial art is individual, all practitioners are different. Teaching is not fixed method, we need to adapt to the practitioner. For the teacher, know his student increases the chances of him showed what suits him, so he can speak as freely as possible. It’s like giving brushes, colors and technique to a painter that it creates its own painting. We teach the technique so that the practitioner is imbued with this technique so that there is no longer need to think before you perform the technique. The artist will be simple, spontaneous natural and authentic.

“In building a statue, a sculptor doesn’t keep adding clay to his subject. Actually, he keeps chiselling away at the inessentials until the truth of its creation is revealed without obstructions. Thus, contrary to other styles, being wise in Jeet Kune-Do doesn’t mean adding more; it means to minimize, in other words to hack away the unessential.”  –Bruce Lee