In addition to this website, the history and cover art of Penguin science fiction is also examined in several publications. A series of articles in The Penguin Collector begins with the early years from Erewhon to Quatermass and continues with the Marber grid, the Penguin Science Fiction series and Germano Facetti's use of abstract and surrealist paintings on the books' covers. Invariably subtle, often ingenious and sometimes playful, Facetti's linkage of contents to cover art set the sf series apart and introduced a new look for Penguin Books which was later extended to « Penguin Modern Classics ».

Facetti's pairing of sf and surrealism may have been inspired by J G Ballard's early fiction which frequently mentions Ernst, Delvaux, Tanguy and other artists whose paintings sought to penetrate the subconscious mind. Ballard admired these surrealist painters and in the early 1960s he set off after them, writing sf that rejected outer space in favour of what the writer J B Priestley termed 'inner space'. For Ballard, this included 'the psychological space apparent in surrealist painting'.

Ballard's use of surrealist paintings as signposts to inner space is examined in Landscapes From a Dream, along with the celebrated series of paintings by David Pelham, which captured inner space in its uniquely Ballardian form. The paintings were used as cover art for a Penguin boxed set of J G Ballard titles in 1974, prompting Ballard to write that he would 'buy those books for the artwork alone'.

In 2011 the Penguin science fiction covers designed by Franco Grignani were featured in Monograph, the award-winning 20-page A5 booklet published by Creative Review.

To mark the fiftieth anniversary of A Clockwork Orange in 2012, David Pelham has recreated his iconic image of the novel's protagonist as a limited edition signed print.

David Pelham is also releasing The Drowned World, The Terminal Beach, The Drought, The Four-Dimensional Nightmare and Flying to Wake Island as limited edition signed prints. The prints are reproduced actual size from Pelham's original paintings, which J G Ballard described as 'tremendously evocative' and 'a remarkable series'.

Art and Penguin sf also converge in the work of the artist Harland Miller, whose large-scale paintings based on vintage Penguin covers were first exhibited at London's White Cube gallery in 2002. Wake Up and Smell the Coffin uses the cover layout and 'good insomniac science fiction' strapline from the 1961 Penguin edition of John Blackburn's « A Scent of New-Mown Hay » as the backdrop for Miller's take on Edgar Allan Poe's short story The Premature Burial. The painting was part of a Poe-themed exhibition Miller co-curated at White Cube in 2008, and a modified version was used on the cover of « The Pit and the Pendulum: The Essential Poe » which Penguin published in 2009. Miller kept the sf strapline for a new version of the painting in 2010, which used the 1940s landscape format of the 'Penguin Modern Painters' series.