The Tanba no Kami Yoshimichi was the third son of Kanemichi of (Seki). His elder brothers were Iga no Kami Kinmichi and Kinmichi, and his younger brother was no Kami Masatoshi. According to the prevailing account, he relocated from to Kyoto together with his father and brothers, where the family greatly enhanced the reputation of the group. He was active from the Keicho through 'ei eras, and thereafter his descendants and disciples also flourished, further elevating the renown of the Yoshimichi line. Relatively many works by the survive today; however, pieces bearing dates are rare. No example with a Keicho date has yet been encountered, and the only dated work known is a inscribed "Genna 7" (1621).
In terms of style, the expressed his individuality by tempering a distinctive he is credited with devising, known as ("bamboo-blind temper"). His works characteristically display , construction with wide , shallow , and either or , presenting a robust and commanding bearing typical of the Keicho period. The shows mixed with and , often with a tendency toward standing grain, thickly covered with and well-formed . The typically begins with a long in , above which the broadens into mixed with ; and enter vigorously, while runs frequently to produce striped () effects that take on the aspect. Thick adheres well, with appearing and the tending toward brightness. The is characteristically deeply tempered, often showing and turning back in . His and further demonstrate the bold, heroic forms of the period, with wide bodies, slightly extended proportions, and pronounced .
The Bengi remarks of the 's that "within the patterned composition of the there resides the spirit of ." This characterization distinguishes his work from that of later generations, which tends toward a more technical and exaggerated rendering. In the 's hands, and break and scatter in an irregular manner likened to gyoso (semi-cursive and cursive) calligraphy; precisely because it is not yet a fully perfected , the tempering offers a particular point of appreciation, and it is there that one senses both power and depth of flavor. The frequently exhibits the flowing grain regarded as characteristic of the lineage from which he originated in . His works occupy a singular position in the early canon as the wellspring from which the tradition developed across successive generations, and they remain prized for the vigorous, semi-cursive vitality that distinguishes the founder's artistic domain from the more codified expressions of his successors.