The Teruhiro line comprises two generations of closely related smiths active from the through the early period. The first-generation no Kami Teruhiro was originally from Province, said to be a later descendant of Kanetsune of Seki, and initially signed as Kanetomo (兼友 or 兼伴). He studied under Myoju, entered the service of Fukushima Masanori, received the title no Kami, and accompanied his lord first to Kiyosu in Owari and then to Hiroshima in Aki Province after Sekigahara. A blade dated Tensho 17 (1589) inscribed "Noshu Seki-ju Teruhiro " proves he was already using the name Teruhiro while still in and had reached considerable accomplishment before entering Myoju's circle. His second-generation successor, Harima no Kami Teruhiro, was originally from Owari, bore the surname Kanie and the common name Jinpachi, and first signed as Kanehisa. He studied under the first generation, became his son-in-law, and served the Fukushima and later the Asano house. A surviving dated Keicho 15 (1610) confirms that the two generations' working periods overlapped closely.
Both generations share a signature technical approach centered on deep- as the prevailing tone, mixed with and elements showing a pointed () tendency. The is typically mixed with and , frequently showing standing grain, with extremely fine adhering thickly and fine entering well, producing a steel that is bright and clear. In the second generation's work, the tends to stand out more prominently than in the first generation's, and the characteristically enters in with a turnback. The is deep, and adheres evenly and thickly without unevenness. The intermixture of in the forging and the occasional appearance of a reminiscent of the "" style betray the school's -lineage origins. Though deep is the principal mode, both generations occasionally ventured into archaizing styles: works modeled after Sadamune and Yamato demonstrate a remarkable stylistic breadth.
The repeatedly emphasizes the "notably superior forging" as the signature virtue of this school, praising the manner in which deep and evenly adhering produce a brightness and clarity in both and that is "truly the very essence of this smith's work." Extant works by the first generation are exceedingly rare, numbering fewer than twenty pieces across all blade types, lending each surviving example particular documentary value. The second generation, while more prolific, is commended for "capably inheriting his teacher's style" while displaying sufficient individuality to stand as a master in his own right. Together they constitute a distinctive, -rooted presence within the tradition whose deep , skilled execution, and inferred connection to Myoju place them among the notable smiths of the Keicho era.