His technique is defined by a mastery of line and tone. Flameng avoided the heavy, muddy blacks common in commercial prints of the time. Instead, he used fine hatchings to build form and light. This approach allowed him to recreate the textures of oil paintings. He captured everything from the heavy velvet of a cloak to the soft skin of a sitter. In works like Man in een grote mantel, he maintained a balance between technical accuracy and emotional presence. He looked back to the Flemish tradition of Jan van Eyck. He focused on the physical reality of his subjects rather than idealised forms.

Modern collectors value Flameng for his technical discipline and the quiet atmosphere of his prints. His etchings provide a connection to the nineteenth-century aesthetic. They lack the clutter of Victorian sentimentality. The monochrome palette of his work suits contemporary interiors. It offers a sophisticated alternative to colour photography or modern digital art. These prints function as windows into a period of intense artistic observation. They appeal to those who appreciate the craftsmanship of the hand-carved line.