He also achieved multiple high ranking honors in other martial arts from different lineages, most notably Iaido, Judo, Karate.

[7] His contributions to martial art includes the creation of a new school of iaido, the introduction of aikido koshinage, different mechanical interpretations of classical budo concepts, among others.

Some emphases of his Aikido style include the importance of acknowledgement of opposition, weapon techniques, atemi, and natural stance.

Nishio's role to Aikido extended beyond technical aspects as he played a significant part in the art's international expansion.

[1] Nishio started practicing judo in 1942 in a dojo near the Ministry of Finance in the Japanese Mint, where he was then employed.

[11][1] This background created the technical foundation that helps him introduced koshinage into official Aikido throwing repertoire.

[3] The restriction from judo competition made Nishio felt his martial art growth was inhibited, he switched to practicing karate in 1950.

After being told about a ghost-like martial artist whom Nishio's sensei (trainer) at the time couldn’t hit,[7][16] he decided to try Aikido.

At the time, the dojo (martial art training place) was not yet properly repaired after the war[11] and there were around five people practicing on a good day.

[21] The commitment to this view is reflected by Nishio's technical contributions and distinctions within the martial art world.

Arts like karate, judo and kendo all have their good points and these can be used to nourish one's own budo training, taking them into account and making even greater efforts.

[33] The clear stage of tsukuri in a technique is unique to Nishio style, as mainstream and other major Aikido schools do not mention it.

[38][39][40] In the context of budo, tsukuri (作り, tsuku = to create, ri = noun form of verb) roughly means "set-up."

It refers to a situation created in a way that can easily convert into advantageous conditions or positioning over opposition in the next immediate one or two actions.

[39] In Nishio teaching, to create tsukuri, practitioners need to take the initiative to elicit opponent's action.

[28] Another approach is to adopt natural stance - shizentai, not raising the sword to kamae position at all, leaving the body completely open.

[41][42] In budo, irimi (入り身, iri = enter, mi = body) is essentially the movement to obtain an opponent's "dead angle."

[43] By taking half-step instead of full step, practitioner stays connected to the opposition thereby maintaining effective control of the situation.

[49] Shoij NishioIn mainstream Aikido styles, atemi are demonstrated infrequently, and felt into disuse.

[52] Koshiwaza was independently researched and developed by Nishio (utilizing his judo background)[3] and Hiroshio Kuroiwa when they were young instructors at the headquarters, and it is said to have spread to other Aikido practitioners.

[53] In 1955, due to the lack of explanation regarding sword and jo techniques from Ueshiba (and other instructors),[12] Nishio started to study iaido under Shigenori Sano (10th dan Muso Jikiden Eishin-ryu).

In 1957 or 1958, Nishio trained in jōdō with Takaji Shimizu (headmaster of Shintō Musō-ryū jōjutsu)[52] and Yari or art of the spear (Hōzōin-ryū sōjutsu).

That means avoid being struck, deliver an effective final strike and stop within hair's breadth of contact.

[28] - Shoji Nishio Described as otonashi, or "silent," which means sword techniques produces almost no harsh sound.

His sword techniques anticipate and exploit gaps in opponent's attacks, turning defense into offense usually in one single precisely timed movements.

The regions teaching Nishio-style Aikido include Central and Northern Europe, the United States, Mexico, France and Germany[8] as well as Vietnam, Iran, Australia.