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.
何塞·瓜达卢佩·波萨达在1888至1913年间为墨西哥城瓦内加斯·阿罗约的便士印刷坊刻制了两万多块锌版——骷髅讽刺画、民谣歌词、灾难新闻、革命传单，一张一分钱在街头叫卖。他笔下的卡特琳娜骷髅和报头字体至今仍是墨西哥视觉语言的基因。
本设计系统还原了那个双色便士印刷的粗粝美学：锌版深黑底色、粗纤维新闻纸奶油色、朱红色标题墨水、沉重的哥特式报头、以及密集的多栏传单排版。每一个界面元素都带着凸版印刷的压痕和油墨的不均匀感。