Forms are a meditative, solitary exercise which develop self-awareness, balance, relaxation and sensitivity. Forms also train the practitioner in the fundamental movement and the correct force generation of Wing Chun.

San Sik (translated as Separate Forms) are compact in structure. They can be loosely grouped into three broad categories: 1) focus on building body structure through basic punching, standing, turning, and stepping drills; 2) fundamental arm cycles and changes, firmly ingraining the cardinal tools for interception and adaptation; and 3) sensitivity training and combination techniques.

It is from the forms and san sik that all Wing Chun techniques are derived. Depending on lineage, the focus, content and intent of each form can have distinct differences which can therefore have far reaching implications. This also means that there are a few different ideas concerning what constitutes progression in the curriculum from form to form, so only a general description of overlap between different schools of thought is possible here.

The most commonly seen Wing Chun generally comprises six forms: three empty hand forms, two weapons forms and one "wooden dummy" form.

Empty Hand

• Siu Nim Tao ( pinyin: xio niàn tóu; Yale Cantonese: siu2 nim6 tau4; "little idea" or "little imagination". Alternately romanized Siu Lim Tao, Sil Lum Tao)

The first and most important form in Wing Chun. Siu Nim Tao is the foundation or "seed" of the art from which all succeeding forms and techniques depend. Fundamental rules of balance and body structure are developed here and alternately elbow force. Using car analogy; for some branches this would provide the chassis, for others this is the engine.

• Chum Kiu (pinyin: xún qiáo; Yale Cantonese: cham4 kiu4; "seeking the bridge". Alternately "sinking bridge" pinyin: chen qiáo; Yale Cantonese: sam2 kiu4;)

The second form Chum Kiu focuses on coordinated movement of bodymass and entry techniques to "bridge the gap" between practitioner and opponent and move on to disrupt their structure and balance. Close-range attacks using the elbows and knees are also developed here. It also teaches methods of recovering position and centreline when in a compromised position where Siu Nim Tao structure has been lost. For some branches bodyweight in striking is a central theme, whether it be from pivoting (rotational) or stepping (translational). Likewise for some branches, this form provides the engine to the car. For branches who use the "sinking bridge" interpretation, the form takes on more emphasis of an "uprooting" context adding multi-dimensional movement and spiraling to the already developed engine.

• Biu Jee ( pinyin: biāo zh; Yale Cantonese: biu1 ji2; "darting fingers")

The third form Biu Jee is comprised of extreme short-range and extreme long-range techniques, low kicks and sweeps, and "emergency techniques" to counter-attack when structure and centreline have been seriously compromised, such as when the practitioner is seriously injured. As well as pivoting and stepping developed in Chum Kiu, a third degree of freedom involving more upper body and stretching is developed for more power. For some branches this is the turbo-charger of the car. For others it can be seen as a "pit stop" kit that should never come in to play, recovering your "engine" when it has been lost. Still other branches view this form as imparting deadly "killing" and maiming techniques that should never be used if you can help it. A common wing chun saying is "Biu Jee doesn't go out the door." Some interpret this to mean the form should be kept secret, others interpret it as meaning it should never be used if you can help it.

Wooden dummy

• Muk Yan Jong (pinyin: mùrénzhuāng; Yale Cantonese: muk6 yan4 jong1; "wooden dummy")

The Muk Yan Jong form is performed against a "wooden dummy", a thick wooden post with three arms and a leg mounted on a slightly springy frame representing a stationary human opponent. Although representative of a human opponent, the dummy is not a physical representation of a human, but an energetic one. Wooden dummy practice aims to refine a practitioner's understanding of angles, positions, footwork and to develop full body power. It is here that the open hand forms are pieced together and understood as a whole.

Variations in the empty hand forms

Both the Way Yan (Weng Chun) and Nguyễn Tế-Công branches use different curricula of empty hand forms. The Tam Yeung and Fung Sang lineages both trace their origins to Leung Jan's retirement to his native village of Gu Lao, where he taught a curriculum of San Sik.

The Siu Lien Tao (Little First Training) of Cho Ga Wing Chun is one long form that includes movements that are comparative to a combination of Siu Nim Tao, Chum Kiu, and Biu Jee of other families. The other major forms of the style are Sui Da ("Random Striking"), Chui Da ("Chase Striking"), Fa Kuen ("Variegated Fist"), Jin Jeung ("Arrow Palm"), Jin Kuen ("Arrow Fist"), Joy Kuen ("Drunken Fist"), Sup Saam Sao ("Thirteen Hands"), and Chi Sao Lung ("Sticking Hands Set").

Weapons

Once correct force generation in the open-handed forms is achieved, the student is ready to progress to weapons. With the open hand forms delivering force to the end of the finger tips, the idea is to be able to extend that force further to the end of a weapon as an extension of the body, using the same principles.

• "Butterfly Knives" — A pair of large knives, slightly smaller than short swords (Dao). Historically the knives were also referred to as Dit Ming Do ("Life-Taking Knives"). Also known as Yee Jee Seung Do "Parallel Shape Double Knives") and Baat Jaam Do (Eight Chopping/Slashing Knives").
• "Long Pole" — a tapered wooden pole ranging anywhere from 8 to 13 feet in length. Ususally referred to synonymously with the name of its form, Luk Dim Boon Kwun, or "Six and A Half Point Pole". Also referred to as "Dragon Pole" by some branches.

The weapons curriculum of the Vietnamese style includes the jian and the Pao Fa Lien lineage trains more weapons still.

The Yuen Kay-San/Sum Nung branch also trains throwing darts (Biu).

Chi sao

Chi sao (Chinese 黐手, Cantonese chi¹ sau², Mandarin chǐshǒu) or "sticking hands", refers to a category of contact sensitivity drills used for the development of automatic reflexes upon contact. The drills are performed in pairs, with the participants facing each other with limbs touching. They can vary from pre-arranged drills to more loose or "random" drills. By default (or commonly accepted slang), Chi Sao usually refers to the Luk Sao (methods of rolling hands) format. In this drill, participants face each other with their forearms touching. They then push and "roll" their forearms against each other in a single circle while trying to remain relaxed. The aim is to feel forces, test resistances and find defensive gaps. Other branches do a version of this where each of the arms roll in small separate circles. A more recent development is a subset of pre-defined leg sensitivity drills called "chi gerk" (sticking legs), which are performed in a manner similar to Luk Sao.

In some branches (most notably the Yip Man family) chi-sao drills begin with one-arm chi-sau (dan chi sao) which helps the amateur student to get the feel of the exercise. Each practitioner uses one hand from the same side as they face each other.

One practitioner uses tan-sau (tan-sao) and the other fox-sao (fauk-sao). The first practitioner tries to change into a straight punch while the other responds. As the feel gets better more moves are inserted and finally both hands are used simultaneously.

Again with both hands only a few moves are used and as practitioners get better the whole variety of moves can be used and practised.

Chi-sao is only a sensitivity drill. An exercise used to obtain specific abilities. It must not be confused or mistaken as a sparring equivalent.

Wing Chun Kuen Kuit

Some Wing Chun schools use wing chun kuen kuit (lit. Wing Chun Fist Formula (mnemonic)) in teaching the art. These are short, often sing-song, sayings or rhymes that encapsulate principles, strategies or combat responses. Their meanings are often derived from local slang. Some sayings may appear simple but gain greater lucidity and meaning during training.

The Wing Chun punch

Punches are usually thrown with the elbow down and in front of the body. Depending on the lineage, the fist is held anywhere from vertical to horizontal (palm side up). The contact points also vary from the top two knuckles, to the middle two knuckles, to the bottom three knuckles. In some lineages of Wing Chun, the fist is swivelled at the wrist on point of impact so that the bottom three knuckles are thrust forward adding power to the punch while it is at maximum extension.

Wing Chun favours the vertical punch for the following reasons:

• Directness. The punch is not "loaded" by pulling the elbow behind the body. The punch travels straight towards the target from the guard position (hands are held in front of the chest).

• Protection. The elbow is kept low to cover the front midsection of the body. It is also more difficult for an opponent to execute an elbow lock/break when the elbow occupies this position. This also aids in generating power by use of the entire body structure rather than only the arm to strike.

• Strength and Impact. Wing Chun practitioners believe that because the elbow is behind the fist during the strike, it is thereby supported by the strength of the entire arm rather than just a swinging fist, and therefore has more impact. A common analogy is a baseball bat being swung at someone's head (a round-house punch), as opposed to the butt end of the bat being thrust forward into the opponent's face (wing chun punch), which would cause far more damage than a glancing hit and isn't as easy to evade. Many skilled practitioners pride themselves on being able to generate "short power" or large amount of power in a short space. A common demonstration of this is the "one-inch-punch", a punch that starts only an inch away from the target yet delivers an explosive amount of force.

• Alignment & Structure. Because of Wing Chun's usage of stance, the vertical punch is thus more suitable. The limb directly in front of the chest, elbow down, vertical nature of the punch allows a practitioner to absorb the rebound of the punch by directing it through the elbows and into the stance. This is a desirable traight to a Wing Chun practitioner, where in contrast the rebound of a horizontal elbow out punch promotes torque in the puncher's body. This is because the limb and elbow are now directing rebound force outwards instead of inwards due to the positioning of the hinge structured eblow. This also aids in generating power by promoting use of the entire body structure rather than only the arm to strike.

The last item above can be easily tested. Hold your fist vertically, in front of you, your elbow pointing down, one foot behind the other. Make sure your elbow is in your centreline. Then ask a friend to push into your fist while you attempt to resist. You will feel the push pressuring your legs and stance. Repeat with a horizontal fist, elbow at shoulder height and to the side. You will feel the incoming push twisting you sideways.