His technique relied on a controlled use of line to mimic the effects of light on different surfaces. In his version of Helene Formann after Peter Paul Rubens, he used dense cross-hatching to create the illusion of soft skin and heavy fabric. He approached religious and mythological subjects, such as Saint Catherine Reading and Diana, with a focus on clear silhouettes and balanced compositions. This method allowed him to maintain the emotional weight of the original paintings while adapting them for a monochrome format. He often worked from drawings made directly in front of the original canvases to ensure every detail was captured.

These prints appeal to modern collectors because they bridge the gap between classical art and graphic design. The monochrome format and lack of colour allow the viewer to focus on the structure of the image and Gleditsch's technical skill. They suit minimalist or traditional rooms because of their neutral tones and historical subject matter. Owning a Gleditsch print provides a connection to the 19th-century tradition of making museum masterpieces accessible for the home. His work offers a way to display the compositions of the Old Masters through a refined, antique aesthetic.