commissioned Busch's first illustrations, had established the first workshop in Germany to use wood engraving. This letterpress printing technique was developed by English graphic artist Thomas Bewick near the end of the eighteenth century and became the most widely used reproduction system for illustrations over the years. Busch insisted on first making the drawings, afterward writing the verse. Surviving preparatory drawings show line notes, ideas, and movement, and physiognomy studies. Then the draft was transferred by pencil on white-primed panels of hardwood end grain. Not only was it hard work, but the quality of the printing block was crucial. Everything left white on the block, around Busch's drawn lines, was cut from the plate by skilled engravers. Wood engraving allows a finer differentiation than woodcut and the potential tonal values are of almost the quality of intaglio printing, such as copper engraving. Sometimes the result was not satisfactory, leading Busch to rework or reproduce plates. The wood engraving technique did not allow for fine lines, which is why Busch's drawing, especially in his illustrated tales up to the mid-1870s, are boldly drawn, giving his work its particular characteristic. From the mid-1870s Busch's illustrations were printed using zincography. With this technique there was no longer any danger that a wood engraver could change the character of his drawings. The originals were photographed and transferred onto a photosensitive zinc plate. This process allowed for the application of a clear, free pen-drawn ink line, and was a much faster printing method. Busch's use of zincography began with Mr. and Mrs. Knopp. Language The effect of Busch's illustrations is enhanced by his forthright verse, with taunts, derision, ironic twists, exaggeration, ambiguity, and startling rhymes. His language had an influence on the humorous poetry of Erich Kästner, Kurt Tucholsky, Joachim Ringelnatz, and Christian Morgenstern. The contrast in his later work between comic illustration and its seemingly serious accompanying text – already demonstrated in his earlier Max and Moritz – is shown in Widow Bolte's mawkish dignity, which is disproportionate to the loss of her chickens: Fließet aus dem Aug', ihr Tränen! All mein Hoffen, all mein Sehnen, Meines Lebens schönster Traum Hängt an diesem Apfelbaum!" Flow, my tears, then, scoring, burning, All my comfort, hope, and yearning, All I dreamt might come to be Dangles from this apple tree!" Many of Brusch's couplets, part of contemporary common usage, give the impression of weighty wisdom, but