Katsumitsu is one of the representative smiths among the Osafune makers of the late Muromachi period, belonging to the lineage commonly designated Sue-Bizen. Multiple generations of smiths signed the name Katsumitsu during the Meio era, among them a smith titled Ukyo no Suke, his son Jirozaemon no Jo, and a Hikobei no Jo. Jirozaemon no Jo Katsumitsu is transmitted as the son of Ukyo no Suke Katsumitsu and the father of Shuri no Suke Katsumitsu and Jirobyoe no Jo Harumitsu. Works by the Katsumitsu line span from at least Meio 2 (1493) through Meio 9 (1500), and signature references record many smiths of this name adding a zokumyo to their inscriptions; those bearing no byname are most often attributed to Jirozaemon no Jo.

The forging of Katsumitsu's works characteristically shows tightly knit ko-itame-hada with very fine ji-nie and conspicuous midare-utsuri, though pieces of robust construction may exhibit itame with a flowing tendency and thickly applied ji-nie with chikei. The hamon is typically a mixed midare of choji, koshi-biraki elements, gunome, angular forms, and ko-choji, with ashi and yo entering well, fine kinsuji and sunagashi, and a bright and clear nioiguchi. Compared with other Sue-Bizen smiths, Katsumitsu is especially adept at achieving a more florid and brilliant workmanship by mixing abundant choji within the midare, developing a lively temper in which choji is relatively prominent. The boshi typically runs in midare-komi turning back in ko-maru with a long kaeri. His range encompasses not only the compact uchigatana form with sakizori characteristic of late Muromachi production, but also hira-zukuri katana, yoroi-doshi tanto of stout construction, and naginata bearing elaborate horimono including bonji, rendai, suken, and kusa-no-kurikara.

Katsumitsu's work is recognized as not merely representative of his lineage but as a model example of Sue-Bizen workmanship. The NBTHK consistently notes that both ji and ha are bright and clear, revealing an outstanding level of workmanship, and that his blades fully embody the principal points of interest of the Katsumitsu line. His carvings are praised as powerful and splendid, well demonstrating the distinguishing characteristics of Sue-Bizen work. The finest examples are described as excellent pieces suffused with robust power and resolute strength, together with splendor, combining many points of appreciation. His signatures, including joint-authorship inscriptions with Sadamitsu and dedicatory inscriptions such as "Kamo Daimyojin," possess high documentary value, making his oeuvre an important source for research into the Sue-Bizen tradition and the lineages that supported it.