Where Ko- closes at the end of the period, Sue- takes up the Bingo tradition through the era. The place the later production in the orbit but spread across several named hands and affiliated branches: Masamori, whose often carry the long "-jū ___" signature; and the closely tied Hokke Ichijō line, whose founder Ichijō is traditionally called a son of Masaie and whose generations continued from the Ōei era into the late . Within that affiliated group the corpus names Nobukane, Yoshitsugu, and the joint-signing Ichijō Morie and Ichijō Moriyuki, working at Kusado (Kusado Sengen) in Bingo. Several stress that the Hokke Ichijō reckoning is genealogically uncertain, said variously to branch from or from Kokubunji, which marks the looser, more diffuse character of the school in its later chapter.
The later workmanship the describe keeps the Yamato base of the early school but states it in a coarser, more standing-grain register. The forging remains mixed with and flowing grain (), now repeatedly noted as (standing grain) and, in one , "somewhat coarse" with the steel turning toward the . A whitish cast persists: is singled out in the Ōei Nobukane , while other blades show only a faint or shadowy -like effect and a darkish, "metallic" steel color. The tempering moves from the school's quiet toward more open : a varied with small , run together into continuous , mixed with pointed () elements, and edges showing , , and a subdued () . The follows form, with added to the curve and a . Against the refined early Ko-, with its tighter and restrained finish, these later blades read as looser and plainer, the footing now worn shallower; the corpus is thin, so this contrast rests on the handful of traits the actually record rather than on a full stylistic survey.
For , the separate Sue- from Ko- chiefly by the loosening of the ground and the opening of the temper: standing, occasionally coarse ; faint or merely shadowy rather than a clear cast; and -laced in place of quiet . Where the Hokke Ichijō hand is present, the note one consistent point of difference, that its in both and runs a step stronger than ordinary , with the becoming pointed and turning back deeply. Named smiths supply the anchors: Masamori for the two-character rarity against his usual long signatures, and the Ichijō hands, including a appraised Ichijō under a Kōchū . The dated works, in the Ōei and Chōroku eras, carry the documentary weight here, fixing the later phase to Bingo and to the Kusado smiths of Kusado Sengen.