Tomoyuki is regarded as the founding figure of the Takada school, which arose in the Takada estate (Takada-shō) of Bungo Province during the period. Prior to his emergence, Bungo had produced the monk Sadahide and Yukihira in the early period, but thereafter noted smiths temporarily ceased to appear. With Tomoyuki, a new and enduring lineage was established — one that flourished continuously through the period and on into the era. According to sword reference works (), works bearing dates from the Bunwa era are treated as those of the first generation, while those dated from Sadaji onward are attributed to the second generation; among extant examples, the earliest dated works are from the Enbun era, with Sadaji-dated pieces being comparatively numerous. Blades from eras such as Jōji and Shōhei are also known. His manner closely resembles that of the contemporary group, placing him squarely within the broader Chikushū lineage, yet his work possesses distinguishing characteristics that set it firmly apart.
Tomoyuki's forging is typically mixed with , tending toward — a conspicuously standing grain often flowing into with areas inclining toward . The characteristically appears somewhat whitish, with intermixed and pronounced standing out — this strongly whitish quality of the steel is, in the 's assessment, precisely the point by which Takada work is recognized. Fine adheres throughout, and enter well. The is fundamentally -toned, mixed with and angular () that proceed at widely spaced intervals, sometimes partially running together in a tsureru manner. The shows a characteristic tendency — an overall subdued quality that distinguishes Tomoyuki from the more brilliant tempers of his school contemporaries. Within the temper, adheres well, with , , and in places small and providing deep interest. The varies from with ending in to turning back in , often incorporating tendencies.
Tomoyuki occupies a pivotal position in the history of Kyūshū swordsmithing as the progenitor of a school that would sustain production across several centuries. Though his style does not follow the earlier Bungo tradition of Yukihira, his close kinship with the lineage — tempered by the distinctive whitish , subdued , and angular elements within the — constitutes a recognizable and independent artistic identity. The consistently notes that his characteristic features are "well expressed in the and in the ," and extant signed works, particularly , are valued as exceptionally important documentary material. His long blades, originally of imposing -period proportions with wide , extended , and comparatively thin , convey considerable presence and dignity. Works in sound states of preservation are praised for superior workmanship, with the interplay of within the forging and the quiet yet discernible of the temper line rewarding close scholarly examination.