1000 of her illustrations in The Botanic Gardens Trust Archive. At that time Joseph Maiden, Director of the Botanic Gardens and Government Botanist, was greatly impressed by the standard of her work. He considered her "the most accomplished botanical artist in New South Wales", and invited her to produce the illustrations for "A Critical Revision of the Genus Eucalyptus", which he was writing. By the time the project was complete, Flockton had produced 308 detailed images. Each drawing showed up to 45 different leaves, stems, buds, flowers, seed pods, and seeds. Some of these images were even shown from different angles. They were neatly and pleasingly organized on the pages thanks to Flockton's heavy training in design and drawing. After the illustrations were finished, Flockton would translate each one of them into lithographs ready for printing.To produce lithographs, it is thought that Flockton drew them directly onto metal plates referencing tracings from original watercolors. These lithographs show a great deal of hatching and crosshatching. Maiden’s second project, the Forest Flora, contained 295 images. 235 were done by Flockton. The remaining 60 were done under her supervision by E.A. King. These publications are still studied by students in Botany to a large extent. The University of Sydney has published the entirety of these works in the electronic book section of their library complete with Flockton’s illustrations. This way they can be accessed both by students and the general public. Flockton spent 12½ hours a week working at the Botanic Gardens and 25 hours at the Forestry Department. In the end Flockton stayed on at the Botanic Gardens for five years beyond her retirement age, her last day of work at the Gardens being on 24 March 1927. In recognition of her contributions to botanical art, and referring to her as joint author of his works, Maiden named a few species after her - Eucalyptus flocktoniae, Acacia flocktoniae and the Dorrigo Daisy-bush Olearia flocktoniae. Producing Illustrations Flockton was very meticulous with her work. She used a magnifying glass to create illustrations of the finest detail. She is often pictured with a magnifying glass hanging around her waist. She drew, painted, and printed work in the gardens. Her work is recognizable for her highly meticulous observation, perfect accuracy, and simple yet elegant pencil and brush strokes. Many of her drawings survived but there are only a few of her colored works that remain