Hitatsura
- The 日本国語大辞典 (Nihon kokugo daijiten) says that his work is hitatsura and that almost all of it consists of long tantō (sunnobi), wide and with sori. The 世界大百科事典 (Sekai daihyakka jiten) adds that Hiromitsu and Akihiro, the two masters of the Sōshū of the Nanbokuchō, created hitatsura, with plenty of nie.
- For the NBTHK, the Sōshū of the Nanbokuchō leaves the earlier notare for a hitatsura mixed with dango-chōji (chōji with a wide, round head), tobiyaki, yubashiri and deliberately placed muneyaki, without losing elegance. That style influenced the Sue-Sōshū of Muromachi and reached shintō, shinshintō and present-day blades.
- Most of his works exceed one shaku (30.3 cm) and are large; Akihiro's are shorter. Dango-chōji is more frequent in Hiromitsu. His carvings are simple, katana-hi, gomabashi or suken, and few blades are without them.
Kantei keys
The wakizashi with Tokubetsu Jūyō papers that the NBTHK published in 2026:
| Key | What the NBTHK describes |
|---|---|
| Sugata | Hira-zukuri and mitsu-mune; wide, long and somewhat thick, with a shallow sori |
| Jihada | Itame with mokume, abundant ji-nie and chikei |
| Hamon | Gunome with chōji and ko-notare, ashi and yō, plenty of nie; frequent yubashiri and muneyaki forming the hitatsura; kinsuji and sunagashi, bright nioiguchi |
| Bōshi | Midare-komi with a ko-maru point, a long turn-back and muneyaki here and there |
| Nakago and mei | Unshortened, kurijiri and katte-sagari file marks; katana-hi running along it |
Compared with Akihiro and the Hasebe
The NBTHK (issues 721 and 758 of its journal) gives the keys: a wakizashi of more than one shaku, wide and thin, in the shape of the Enbun and Jōji eras, with a hamon of chōji and gunome that widens towards the top into a large midare, tobiyaki and muneyaki, and the upper half with dango-chōji, is Hiromitsu. Akihiro makes almost only tantō of eight or nine sun, with a smaller hamon. The Hasebe make very thin blades, with masame along the edge and a hamon that does not widen towards the top.