His work is defined by a precise, almost clinical woodcut technique. In pieces like Sultan Süleyman and the Süleymaniye Mosque, Lorck combines architectural accuracy with a stark graphic style. He often placed figures against wide, empty horizons or detailed cityscapes to create a sense of scale. His portraits, such as those of the ambassador Ogier Ghiselin de Busbec or Ismael, Ambassador to Persia, focus on the physical presence and clothing of his subjects rather than idealised features.

Modern collectors value Lorck for his role as a visual ethnographer. His prints offer a clear window into the sixteenth-century Ottoman Empire without the heavy romanticism found in later Orientalist art. The bold lines and monochrome palette of his woodcuts suit contemporary interiors. These works function as both historical documents and striking pieces of graphic design.