Goshun later went on to found the Shijō school. Ōkyo's painting style merged a tranquil version of Western naturalism with the Eastern decorative painting of the Kanō school. His works show a Western understanding of highlight and shadow. His realism differed from previous Japanese schools in its devotion to nature as the ultimate source with no regard for sentiment. Ōkyo's intricately detailed plant and animal sketches show a great influence from European nature drawings. An album of leaves in the Nishimura Collection in Kyoto (now in handscroll form) depicts several animals and plants, each labeled as if in European guidebook. Still, Ōkyo's works remain Japanese. Unlike European painting, Ōkyo's images have very few midtones. Moreover, he follows the Eastern tradition in depicting objects with very little setting; often his pictures feature a single subject on a plain background. The result is a more immediate naturalism with a decorative and reflective feel. This was achieved through skillful brush handling; Ōkyo painted with a broad, flat brush, which he would load with more paint on one side. This created broad strokes that vary in paint coverage. Nature was not his only subject; many works by Ōkyo depict normal scenes from life in Kyoto's commercial area. His "Geese Alighting on Water", painted at Enman'in, Ōtsu in 1767, is an early example of his mature style. The subject is treated as a part of nature; nothing philosophical is implied as had been done with such imagery in the East Asian tradition. Likewise, "Kingfisher and Trout", painted in 1769, features a bird near the top of the image, waiting for a fish. The trout swims under a large rock near the center. Bird, fish, and stone all appear as they do in nature, creating a matter-of-fact, comprehensible, and natural-looking piece. Later in his oeuvre, "Pine Trees in Snow", executed in 1773 for the wealthy Mitsui family, is realistic despite being in the Japanese idiom of ink on a gold background. The two six-panel screens show tree bark and pine needles separated by differing brush strokes, and the white snow seems to weigh down the branches. The bark is painted in the "tsuketate" technique, which uses no outlines, just dark and light shades to create the illusion of volume. "Hozu Rapids", painted in 1795, is one of Ōkyo's later works.