Yoshimichi is the most celebrated name of the school, the Kyoto-rooted line founded by a son of Kanemichi of Seki. The first-generation Tanba no Kami Yoshimichi and his brothers Iga no Kami Kinmichi and no Kami Masatoshi are named together in the published sources as masters of the lineage, the three smiths who carried work to the front rank of the early period. This record gathers the Osaka branch of that name. At its center stands the Osaka Tanba no Kami Yoshimichi, born in Keicho 3 and styled 'emon, the second son of the Kyoto who moved to Osaka and became the founder of the Osaka-Tanba line, around whom are set his son Yamato no Kami Yoshimichi, known as Uemon, and a blade the published record assigns to the second generation. Where the elder Kinmichi and the younger Masatoshi worked diversely, Yoshimichi held to one signature manner, and it is that manner the school is remembered by.
That manner is the , the bamboo-blind temper. Layered and are drawn through a and until the temper stripes into parallel bands like the slats of a hanging reed blind, and the published sources call it the school's hallmark, the Osaka-Tanba line handling it more often and more skilfully than any other style. On a wide, slightly elongated, thick- of Keicho- shape, the opens the temper with a long straight at the and then widens the above it, building over a base mixed with into a flamboyant large . Long, vigorous run through it, the layers in double and triple bands until it stripes into the , enter, strong gathers and clumps unevenly, long appear in places, and and are added. The rises shallow and pointed in a , swept with frequent into a flame shape and run down long. The published sources read the whole as bolder and more flamboyant than usual, of his hallmark style yet pressing on the work of the Kyoto .
The carries the temper. On the 's the is a compact mixed with , the adhering thickly and exceedingly fine, fine entering well, the flowing and standing a little in places. The itself is a study of its own. The published sources distinguish the 's straight from the broadening Osaka , noting that here the keeps an even width as it rises rather than spreading toward the upper blade, a point of recognition within the Osaka-Tanba hand. The slender assigned to the second generation shows the vocabulary in lower key, an tending to with , a large with and and resolving into , the a shallow, moist swept at the tip. The temper is the constant, the build and the strength of the the variables across the hands gathered here.
The name is read by hand and by signature rather than by a single dated chronology. The Osaka Tanba stands as the prime hand, his son Yamato no Kami Yoshimichi forms a parallel and contrasting one. On a wide with a clear difference between base and point width, Yamato no Kami forges not the family blind-temper but a in what the published sources call 「中河内風の丁子乱れ」, frequent entering, adhering, scattered, the a slight ending in ; at times a little of the family temper is mixed in, and rarely he works a rolling-wave manner within which are set, a range the sources liken to Ikkanshi. The published record judges this an outstanding example among his works, its somewhat stronger than on Nakagawachi pieces, and it notes his collaborative blades with the first and second Osaka Tanba Yoshimichi and with the second-generation Kawachi no Kami Kunisuke, by which the exchange among these Osaka smiths can be followed. The second-generation blade closes the descent: the published sources write that 「同工の特色ある簾刃を焼いて」 without vulgarity, sound in workmanship though slender in build.
Within the school the line is best placed by its own signature. The 's 「一派のお家芸である簾刃を最も得意としており」, and his straight, even and pointed, flame-swept distinguish his hand from the broadening Osaka of his neighbours and from the his own son preferred. Against the Kyoto he is most easily confused and most carefully separated: because the Osaka line cut no chrysanthemum crest while the Kyoto line did from the second generation on, the published sources give the character 守 of the signature as the decisive point, its 寸 element cut straight down on Osaka work and slanting on Kyoto work. The sources are honest about the line's later course, observing that 「代が下るに従って」 the manner grew more technical and more uniform, the temper settling toward a single pattern as the individuality of the founders thinned.
The Osaka is rated Jo- by Fujishiro, and four of these blades are held in the tier, none higher on this record. Provenance is sparse but distinguished: one blade descends through the Imperial collection, the kind of patrimony that is preserved rather than traded, and a second carries recorded provenance as well. There are no National Treasures or Important Cultural Properties on this record to speak of, and the holdings are modest in number, so a designated Osaka-Tanba Yoshimichi is not a blade that appears often. When one does, it is most often a or of the Keicho- build, and it comes to a private collection only from time to time and with patience. For a name carried by several generations to one signature, the surviving designated works are few enough that each is a documented point on the line rather than a routine example, and the on a sound blade remains the surest mark by which this Osaka branch of the school is known.