The Sukesada lineage was the most prolific and celebrated smithing house within the Osafune school of late Muromachi-period Bizen Province, collectively termed Sue-Bizen. According to the Hayami Den, as many as twenty-one smiths appended a zokumyo (common name) to their signatures while working under the Sukesada name, making this the largest single-name group in the history of Japanese swordsmithing. Among them, the smiths bearing the titles Yosazaemon no Jo, Hikobei no Jo, Genbei no Jo, and Hikozaemon no Jo are regarded as especially accomplished. Yosazaemon no Jo Sukesada stands foremost, his birth calculable to Onin 1 (1467) from an extant tanto inscribed "Tenbun 6, made at age seventy-one," establishing a working career spanning from the Eisho through Tenbun eras across two generations. Genbei no Jo Sukesada, long esteemed for the excellence of his forging, produced dated works from Eisho 2 (1505) through Tensho 11 (1583). Hikobei no Jo is traditionally identified as Yosazaemon's father, while a later Shichibei Sukesada continued the style as the fifth generation descended from the Eisho-era founder.

The Sukesada smiths collectively commanded an extraordinarily broad technical range, yet their works are bound by shared characteristics that define the Sue-Bizen idiom at its highest level. The forging across the lineage presents a tightly packed ko-itame-hada with extremely fine ji-nie, intricately interwoven chikei, and faint midare-utsuri -- a refined surface texture that the NBTHK terms seiryo (excellent quality). The school's signature temper centers on koshi-hiraki gunome -- gunome with an opened waist -- frequently developed into complex, multi-layered fukushiki (compound) midare mixing choji, togariba, and angular elements, at times producing the distinctive formation known as kani no tsume (crab's claws). Yet the lineage was equally accomplished in suguha, where Genbei no Jo Sukesada particularly excelled, producing broad, quiet temper lines enlivened by ashi and yo with a characteristically tightened nioiguchi. In full hitatsura, frequent tobiyaki and muneyaki merge into continuous tempered surfaces of great energy. The nie activity across the school tends toward the nie-deki manner that distinguishes Sue-Bizen work from the nioi-dominant style of earlier Bizen production. Their blades characteristically display the standard late Muromachi uchigatana sugata: wide mihaba with little taper, thick kasane, pronounced sakizori, and an extended chu-kissaki conveying robust, powerful bearing. The school also produced joint works (gassaku), such as the celebrated naginata made collaboratively with Jirozaemon no Jo Katsumitsu for the Bizen warlord Ukita Yoshie.

The Sukesada lineage's significance extends beyond individual technical achievement to encompass the sustenance of Bizen swordmaking as a living tradition during its final great period of production. Their works were transmitted in the collections of prominent warrior houses -- the Sendai Date, the Mori, the Ikeda of Bizen, the Ii of Hikone, and the Shonai Sakai families -- attesting to the esteem in which they were held by contemporary patrons. The NBTHK consistently distinguishes the Sukesada masters' chumon-uchi (individually commissioned blades) from the mass-produced swords of the period, noting that works of this caliber surpass contemporaneous production from other provinces in technical refinement, and that it is precisely because such works exist that the Sue-Bizen name has earned its high reputation. Across both the restrained composure of broad suguha and the spirited expansiveness of hitatsura-inflected pieces, the leading Sukesada smiths demonstrate uniformly kenzen (sound and well-preserved) ji and ha, bright and vividly clear workmanship, and a versatility that represents the highest standard of accomplishment among the late Muromachi swordsmiths.