In 1885, Rodin returned to the subject of Hugo employing the drypoint printmaking technique that he had learned from artist Alphonse Legros in 1881. His work was probably guided by the drawings he had made in earlier sessions with the author, and it is quite possible that he referred to the completed sculpture as well. The final result, which includes multiple images of Hugo from various angles, creates the impression that Rodin spontaneously sketched the studies directly onto the copper plate.