The subtle tones of the aquatint characterize these nearly classical color etchings. 'After the Meal in Delft' (1976) and 'Morning Wind - Homage to Vermeer Van Delft' (1976) emanate a power of suggestion. As exciting and free as Castillo's work otherwise appears, home scenes always return, still like these prints, portraits and interiors. Its as if there were a bit of nostalgia packed into them. These last Berlin etchings from 1976 stem from a single set of motifs. On the table, a coffee pot and fruit, fruit of the earth and fruit of the sea. A door is open, leading perhaps into the next room, the garden or the beach. The requirements of home life are left behind, as if a symbol of return. In the words of Friedrich Herlt, 'a soft sea breeze, which accidentally carries the napkin forth like a bird's flight through the silvery air'.

Castillo inspired himself in the Classics, Romantic artists and the protagonists of modern art and made reference to this later in prints such as 'Homage to Vermeer van Delft' (1976), in honor of a great painter of restrained allegorical interiors, and 'Homage to Georges Braque', 1976, a color etching dedicated to the father of Cubism. The table as centerpiece, the wind from somewhere, the clear forms of rhythmic ornaments and seafood in the velour of aquatint. In the frieze on the upper edge of the painting there are faces, as if guests had left masks of their faces. At the foot of the table is a cloth, and in the cloth is a knife, references to Braque's Surreal and Symbolic affinities.

A still life in small format which reveals the large-format painter in its masterful brushstrokes. Requirements of everyday life: a tablecloth, pots, goblets, fruit, and in the background, on the wall, paintings: 'In Memory of Picasso' (1976). From Picasso to Torres García, Catalan art attained fame. Castillo let himself be inspired by Picasso's 'Guernica' to create one of his most monumental works, 'Palomares' (Dovecote, 1967).