His style is defined by a light touch and a preference for soft, flowing lines. Stothard often placed his figures in shallow spaces, a technique that made his work ideal for the flat surface of a printed page. He avoided the heavy shadows and dramatic lighting common in the works of his contemporaries. Instead, he used clear outlines and balanced compositions. Works like The Lost Apple and his various Caryatid studies demonstrate his ability to translate classical forms into a clear, gentle language.

Modern collectors value Stothard for his clarity and the decorative quality of his compositions. His prints do not overwhelm a room with dark themes or aggressive scale. They offer a sense of calm and order. Because he worked closely with engravers, his designs translate perfectly to modern print reproductions. His depictions of domestic scenes, such as Mother and Two Children, provide a quiet glimpse into late eighteenth-century sensibilities without the distraction of heavy-handed moralising.