Un Enaid

Inside the image.

A square cover combines two large monochrome portraits with a narrow view of a harp between them. On the left, a woman with light, softly waved hair faces the camera; on the right, a clean-shaven man with short hair looks towards the viewer and smiles. Both faces are tightly cropped at the shoulders and fill most of their respective halves. The woman’s portrait is bright and softly graduated, while the man’s is cooler and more evenly lit, with a pale grey-blue cast. A dark vertical strip separates the portraits and contains the harp: its curved wooden neck and closely spaced strings are visible against a light background. The instrument is partly obscured by the framing and the portraits.

The upper part is a broad, very dark band, shading from charcoal at the top to near-black behind the portraits. The woman’s hair and pale face stand out against it; the man’s head is set against a light grey field with a darker edge at the far right. Along the bottom, a pale grey-white strip carries the performers’ names in two centred lines of small black serif capitals: “ANNETTE BRYN PARRI” and “DYLAN CERNYW”. Fine pale horizontal rules and a bright angled line decorate the lower left, while the lower right falls into dark grey and black. A thin light border is visible along the lower edge.

Across the top, the large white word “Piantel” is written in sweeping, joined calligraphic lettering, beginning at the upper left and extending over the dark field. To its right, a narrow black panel edged with a fine gold line contains the small gold capitals “UN ENAID”; further right, white capitals read “ONE SOUL”. The lettering overlaps the dark space above the portraits, and the name panel aligns with the top of the central harp section. The overall treatment is photographic, with a sharply divided, assembled layout and strong contrast between pale faces and dark framing.