His artistic method relied on the stark contrast of the woodblock medium. Daglish used the white-line technique to define form. In this process, the artist cuts into the wood to create light rather than shadow. In works like Gold Crest and Black Grouse, he avoided unnecessary ornamentation. He focused instead on the textures of feathers and fur. His compositions often place the subject against a dark background or within a minimalist environment. This approach allows the physical characteristics of the animal to remain the primary subject. His series on mammals, including The Bison and Harvest Mice, demonstrates a mastery of fine detail without relying on colour.

Modern collectors value the graphic clarity of these engravings. The black and white palette makes his work adaptable to various interior styles. His prints offer a quiet, observational quality that differs from more decorative bird illustrations of the nineteenth century. Pieces such as The Crane and Long-Tailed Field Mice function as both scientific records and modern graphic art. His work appeals to those who appreciate the intersection of natural history and the British wood engraving tradition. These prints provide a direct connection to the natural world through a disciplined, traditional craft.