He collaborated with the newspaper "La Patria Ilustrada" and the "Revisita de Mexico" until the early months of 1890. He began to work with Antonio Vanegas Arroyo, until he was able to establish his own lithographic workshop. From then on Posada undertook work that earned him popular acceptance and admiration, for his sense of humor, and propensity concerning the quality of his work. In his broad and varied work, Posada portrayed beliefs, daily lifestyles of popular groups, the abuses of government and the exploitation of the common people. He illustrated the famous skulls, along with other illustrations that became popular as they were distributed to various newspapers and periodicals. In 1883, following his success, he was hired as a teacher of lithography at the local Preparatory School. The shop flourished until 1888 when a disastrous flood hit the city. He subsequently moved to Mexico City. His first regular employment in the capital was with "La Patria Ilustrada", whose editor was Ireneo Paz, the grandfather of the later famed writer Octavio Paz. He later joined the staff of a publishing firm owned by Antonio Vanegas Arroyo and while at this firm he created a prolific number of book covers and illustrations. Much of his work was also published in sensationalistic broadsides depicting various current events. From the outbreak of the Mexican Revolution in 1910 until his death in 1913, Posada worked tirelessly in the press. The works he completed in his press during this time allowed him to develop his artistic prowess as a draftsman, engraver and lithographer. At the time he continued to make satirical illustrations and cartoons featured in the magazine, "El Jicote". He played a crucial role for the government during the presidency of Francisco I Madero and during the campaign of Emiliano Zapata. Posada's best known works are his calaveras, which often assume various costumes, such as the "La Calavera Catrina", she is offered as a satirical portrait of those Mexican natives who, Posada felt, were aspiring to adopt European aristocratic traditions in the pre-revolution era. Largely forgotten by the end of his life, José Guadalupe Posada died in 1913. Three of his neighbors certified his death, only one of them knew his full name. Academics have estimated that during his long career, Posada produced 20,000 plus images for broadsheets, pamphlets and chapbooks. Posada was studied by key figures of Mexican muralism.