Masuda graduated the metal carving course of the metalwork department at Tokyo School of Fine Arts. He studied metalwork under Kamezo (Nanzan) Shimizu and received formative and craft-related instruction from Kenkichi Tomimoto. He won special recognition at the Bunten in 1939 and Nitten in 1946. He was a member of Nihon Kogeikai. In 1991, he was designated holder of an intangible cultural asset (metal carving). His sound skill based on traditional techniques and the designs of flora and fauna patterns brimming with vital force conceived from sketching are highly appreciated.
Masuda says that his encounter with the ceramist Kenkichi Tomimoto decided the direction of his work. Tomimoto is said to have taught Masuda, “There is only one viewpoint in a picture, but a pattern has numerous viewpoints and is a composition of such viewpoints.” On a copper sheet beat out into a vase, the oleaster, bullfinch, and butterfly are engraved in keribori, a technique in which wedge-shaped traces dug with the chisel form dotted lines. An alloy made from mercury and gold is plated and a gold decoration unique to Masuda is added. Following Tomimoto’s teaching, the pattern on this vase is a design created from having observed nature. The gold plate stands out flamboyantly against the copper ground and results in a work full of tender brightness as if the bird’s chirp could be heard amidst the spring sunlight. This vase was submitted to the 18th Nihon Dentokogeiten.