The technique of Nicolas de Poilly relied on a disciplined use of the burin to create depth through varying line weights. In his religious works, such as Madonna and Child, he moved away from the starker contrasts of earlier Northern European styles. Instead, he adopted a softer, more tonal approach influenced by the Roman school of engraving. This method allowed for subtle transitions in shadow, making his subjects appear three-dimensional on the page. His portraits of intellectuals like Guillelmus Menagius and Nicolas Edouard Olier demonstrate this same attention to volume.

Modern collectors value these prints for their formal clarity and historical presence. The monochromatic nature of his work allows it to fit into contemporary interiors without clashing with modern colour palettes. These engravings offer a direct connection to the seventeenth-century French court. The technical precision of a Poilly print acts as a counterpoint to the digital images of the current era.