His technique relied on a disciplined application of cross-hatching to build tonal depth. In works like Sibylla Tiburtina, nomine Albunea, he used varied line weights to define the volume of classical drapery. He did not use the soft washes found in etching; instead, he used the physical resistance of the copper to create a crisp, architectural quality. His portrait of the historian Ludovico Savioli shows this control. He built the sitter's features through fine lines that maintained the clarity of the original drawing.

Modern collectors value these prints for the structural clarity of the compositions. The monochrome palette allows the work to fit into contemporary interior schemes without clashing with existing colours. These engravings provide a connection to the history of European printmaking through a lens of technical accuracy. Because his subjects often include mythological figures or historical scholars, the prints create an intellectual atmosphere in a home office or library. The clarity of the line ensures that the image remains legible even from a distance.