Bovinet used a restrained technique to define distance and volume. In works like View of Lake Geneva and The Monument to Jean-Jacques Rousseau in Geneva, he employed fine, parallel hatching to create subtle gradations of tone. He avoided the heavy, dark shadows common in earlier Baroque prints. Instead, he favoured a clear, silvery light that reflected the Neoclassical tastes of the early nineteenth century. His compositions often place small figures within expansive natural settings. This choice provides a sense of scale without distracting from the geographical features he recorded.

These prints offer a calm and orderly view of the European countryside. Collectors value Bovinet for his ability to capture the specific character of a location before the onset of industrialisation. His views of Lausanne and Geneva provide a window into a world of quiet promenades and undisturbed shorelines. The clean lines and balanced proportions of his engravings suit modern interiors that require art with a sense of clarity. His work remains a primary example of the French tradition of topographical engraving.