In February 2020, Penguin Classics introduced a new hardcover series named Penguin Vitae, sparked by the question “What classic books would you place together on a shelf to represent the course of your life?” The colored and largely typographic covers for this series were designed by Penguin’s creative director Paul Buckley.

Among the first five published titles is Sister Outsider: Essays and Speeches, which originally came out in 1984 (see the design of the first edition by Crossing Press).

Penguin Classics is honored to publish Sister Outsider, essential nonfiction by black lesbian poet and feminist writer Audre Lorde. Featuring a foreword by Mahogany L. Browne, this groundbreaking collection of writings on race, gender, and LGBTQ issues is incisive, unflinching, and lyrical, reflecting struggles but ultimately offering messages of hope.

For this cover design, Buckley worked with tracked-out PAG Revolucion. Drawn by Ryoichi Tsunekawa and released in 2008 in a single all-caps weight, it was later revised and extended into a full family with lowercase, named Revolution Gothic.

A series of characters inspired by the world of ’70s comics and TV shows; they wear their underwear over their clothes and their powers are connected to the colors of Diesel’s Fresh & Bright collection.

The campaign typeface is PAG Revolucion, used with perspective 3D effects and other modifications. The Fresh & Bright logo uses ITC Souvenir. Design by Mari Carmen Gainza at DoubleYou. Photography by Robert Bartholot.

The superhero lineup as seen on the Diesel website.

The Vista Hermosa logo is based on PAG Revolucion, with an added hatched shadow.

I saw a friend recently say that these were some of the best chips he’d ever eaten, and loving the use of Davida I decided to look up their website.

Vista Hermosa, the packaged food arm of Tacombi, uses PAG Revolucion for their logotype, and Davida and Roberta throughout their line.

All-caps Roberta is paired with Brush Script (“Delicioso”) and an unidentified wide grotesk.

Davida with Balloon Drop Shadow (“¡Perfecto for tacos!”), solid Balloon (“Special Flavor!”), Hobo (“Tip-top taste!”), and Divina (“… a different world within your reach!”).

Via “The 60 Best Book Covers of 2016, As Chosen By Designers”, presented by Emily Temple on Literary Hub. Of the seventeen book cover designers invited for this compilation, five mentioned The Mothers as a personal favorite of the year.

Isabel Urbina Peña is reminded “of classic 1960s and 70s American graphic design (think of Milton Glaser, Push Pin Magazine, etc).” Alison Forner wonders whether it is “a modern interpretation of a stained glass window madonna, [w]ith references to African textiles”, and loves “how it subtly solves the age-old ‘put a woman on it’ dilemma without compromising good design”, while Janet Hansen’s “favorite part is that the woman’s face is not on the jacket, but it surprises you on the spine.” Set some time aside to read the full article on Lit Hub.

The Mothers was published simultaneously by Riverhead Books (hardcover) and Random House Large Print (paperback), with a largely identical cover design by Rachel Willey. The font in use is an outlined and tracked out PAG Revolucion.