Dewch At Eich Gilydd (Apel S4C)

Inside the image.

The square cover is built from a dense, hand-painted-looking arrangement of small architectural and sign-like fragments, divided horizontally by two broad lavender-blue bands. The upper and lower sections are packed with overlapping rectangles, narrow bars, arches, windows, doorways and loose, winding marks. Their edges are irregular and some forms seem to run behind or be cut off by the bands and the outer edges of the image. The composition is busy across the whole surface, with no single scene or figure taking precedence.

In the upper section, a pale ground is crowded with dark blue, black, red, green, ochre and white shapes. Near the upper left, a small pale rectangle contains the words “me glynhen”; to its right are tall, narrow blocks and a blue-and-white vertical panel with curling, abstract marks. Toward the centre, a green upright strip bears small dark lettering, and at the upper right a compact white label reads “s4c.co.uk”. Below it, a framed panel contains several coloured horizontal ovals. Other details include loose black strokes, a small circular shape and patches of red and blue.

The top lavender-blue band crosses the full width and carries the large, centred white title “‘DEWCH AT EICH GILYDD’”. A thinner pale line sits just below the title; beneath it, smaller centred text reads “APÊL S4C~ ASIA/AFRICA 2005”. A second lavender-blue band runs across the middle-lower part of the cover, separating the two painted sections. Its small white lettering reads “DEWCH AT EICH GILYDD | GERDDI BABYLON”, with a thin vertical divider between the phrases.

The lower section continues the patchwork of architectural-looking forms. At left are stacked narrow panels, a dark arch-like shape and a tall green strip; near the centre, a small oval sign reads “gotel”, set among blue and red horizontal marks. To the right are more framed panels, including a large brown rectangle, scattered black shapes and short curved strokes. A dark blue-purple area occupies the lower-right corner, where the large white “S4C” logo sits. The palette is vivid but softened by the pale ground: lavender-blue bands and deep blues frame areas of green, red, ochre, brown and white. The artwork has a flat, graphic arrangement, but the visible uneven brush-like marks and irregular outlines give the fragments a hand-made appearance. There is little suggestion of realistic depth or lighting; forms overlap through placement and changes in scale rather than shading.