José Guadalupe Posada cut more than 20,000 zinc-plate engravings for Antonio Vanegas Arroyo's penny broadsides between 1888 and 1913 — calavera satires, corrido ballads, news disasters, and revolutionary scenes sold on Mexico City streets for centavos. His Catrina skeleton and tabloid mastheads became the visual grammar of Mexican graphic identity.

This system channels the two-color penny-press aesthetic: zinc-engraving black ground, rough newsprint cream, vermilion blood-red headlines, heavy Fraktur mastheads, and the dense column-stack composition of a broadside vendor's stack. Every surface feels letterpressed, inked, and pulled from a zinc plate.