Busnes Anorffenedig...

Inside the image.

A square cover with a nearly black, charcoal background. Eleven small portrait photographs are arranged in two horizontal rows across the middle, with a rough, thin white line running between them. Six portraits sit in the upper row and five in the lower; the lower row is set slightly to the right of the upper one. The photographs vary in size and tone, and several have narrow pale borders. Most show children at different ages, posed individually and facing the camera, though a few are shown in profile or looking away. The images include colour and monochrome portraits, with muted blues, greens, reds, creams and greys standing out against the dark ground.

The upper row begins at the left with a close portrait of a child in a pale top, followed by a taller full-length monochrome photograph of a child standing beside a railing. Next is a colour portrait of a smiling child in a light shirt; then a pale, high-contrast monochrome close-up. The fifth image is a colour photograph of a child in a red top, seated or leaning sideways, and the last is a dark monochrome portrait of a child turned slightly to the side. In the lower row, a child with glasses appears against a patterned backdrop; beside this is a dim greenish profile portrait. The central image shows a red-haired child in a white shirt and red tie. To its right is a close portrait of a child in a pale shirt, followed by a smaller, softly lit image of a child wearing a cap. The photographs have differing crops and exposures, giving the rows an informal, assembled quality.

Large white lettering in a loose, hand-drawn style occupies the space above and below the photographs. The upper inscription is centred near the top and reads “busnes anorffenedig...” The lower line, set near the bottom, reads “geraint longreen a’i enw da”. The lettering is irregular in size and baseline, with rounded, uneven strokes, and is visually distinct from the small photographic images. The restrained palette, strong dark margins and simple stacked arrangement keep attention on the portraits and the two lines of text. The cover appears to combine photographs with handwritten lettering and a chalk-like divider.