A principal innovation of Whistler’s Venice etchings was the manipulation of surface ink to create different atmospheric effects in every impression; the same plate could be printed to appear nocturnal, bathed in mist, or animated by dazzling sunlight. Marin shared with the older artist a “delight in the surface intangibles of light and movement,” employing tonal veils of ink in his printmaking almost from the beginning and improvising with subtractive wiping techniques of his own.