Llefarodd Yr Haul

Inside the image.

A square photographic cover is built from four cropped views of three men in black clothing against a nearly black background. Two heads appear upside down across the upper band, partially disappearing into shadow and the top edge. Below them, a larger upright head and shoulders dominate the centre-right: the man turns slightly towards the left, his face caught in bright light while the rest of his clothing merges with the dark ground. A smaller figure occupies the lower-left corner, shown from the chest up and also turned towards the left. The faces form a loose diagonal from the upper left and upper centre through the large central portrait to the lower left. Their overlapping placements and abrupt crops make the image feel assembled from several photographic exposures, though no seams or frame are visible.

Black fills most of the space, especially the top-right and the gaps between the figures. The faces are pale and warmly lit, with deep shadows defining their features; a patch of muted blue-grey appears behind the central portrait. At the lower right, a dark, sloping background area is crossed by a lighter grey-blue diagonal band. The light on the faces is sharp against the surrounding darkness, while much of the black clothing is difficult to distinguish from the background. The image has no visible border.

Large white capital lettering sits across the upper-middle, overlapping the dark space between the portraits: “RHYS MEIRION A ROBAT ARWYN”. Directly beneath it, aligned towards the right, smaller blue lettering reads “llefarodd yr haul”. The main line is tall, condensed serif lettering with pronounced contrast between thick and thin strokes; the blue line has a softer, more rounded appearance. In the lower-right quadrant, a small white text block begins “gyda / with” and continues in several centred lines: “Parti Dyffryn Clwyd”, “Cerddorfa Sesiwn Cymru”, and “Welsh Session Orchestra”. These lines sit over the dark area and the diagonal shape, with the final line close to the bottom edge. The design is photographic, using strong chiaroscuro and tightly cropped portraits, with the typography providing the main graphic structure.