In kendo, when we initiate an attack and approach the opponent during seme-ai, we are advised by wise senseis to not only maintain a relaxed grip on the shine, but to relax it even more as we apply pressure (metaphorically, speaking, of course, not really in terms of force per unit area) on the opponent. This is done to preemptively compensate for our natural tendency to tighten up at the beginning of the actual physical attack.
Tightening up is a natural reaction of the human body to physical stress. In fact, by consciously flexing our gip on a dumbbell, for example, we are able to pull off a couple of additional biceps curls beyond what would other wise be our maximum number of reps. This very effective principle, among others, is taught by Pavel Tsatsulin, who use to train special forces operators in various countries. According to him, strength requires tension, while flexibility requires relaxation. Ability to switch from one to another quickly and at will is the key to high physical performance.
I was going to make an analogy between this preemptive relaxation that is used to prepare a martial artist for the moment of tension and a creative process like painting or photography, but the specifics of this would-be analogy seem to be a bit far-fetched now as I think about it. If I always take too many shots during a typical basketball game, which makes the culling process long and tedious, should I preemptively compensate my trying to take photos only when the action comes closer, for example?.. As Richard Feynman said about analogies, it is possible to draw one between any two subjects, and therefore, the analogies are largely meaningless.