Amsler's technique relied on clear outlines and a controlled use of cross-hatching to define form. He avoided the soft effects common in mezzotint. He preferred the structural clarity of the burin technique. This approach is evident in his reproductions of Raphael, such as the Madonna Staffa and the Holy Family of the House of Canigiani. He aimed for a purity of line that focused on the geometric balance of the original composition.

Modern collectors value Amsler for his ability to translate the scale of Renaissance and Neoclassical art into a format suitable for domestic interiors. His portraits, including those of Karl Philipp Fohr and Thorvaldsen, provide a direct connection to nineteenth-century intellectual circles. These prints offer a way to own a piece of art history through the lens of a master technician. The monochromatic nature of his engravings allows them to fit into various rooms without clashing with existing colour palettes.