Un Ydym Ni

Inside the image.

A densely packed, hand-drawn townscape fills the square cover. Rows of steep-roofed houses press together across the middle and upper areas, while larger buildings and pieces of industrial-looking machinery overlap in the foreground. There is little open space: rooftops and walls are cropped by the left, right and lower edges, and the buildings recede in uneven tiers towards a narrow strip of green landscape and sky at the top.

Across the top, the title sits over the sky and upper rooftops. “CÔR Y CWM” appears in large, bold white capitals at the upper left, followed by the narrower white capitals “UN YDYM NI” stretching across the upper centre and right. The lettering is tall and clean-edged, with a dark shadow or outline that helps it stand out against the busy colours behind it.

The houses are individually outlined and brightly coloured in pink, orange, red, yellow, blue, green and purple. Their triangular roofs and small rectangular windows make a jagged, repeating skyline; some façades are partly hidden behind the houses in front. At the far upper edge, bands of green, yellow and blue suggest sloping ground beneath a purplish sky. On the left is a broad, low building with a blue roof and a warm tan façade, marked by rows of arched window shapes. Near the centre stands a tall red-orange building with a dark roof and several blue-paned windows. A small yellow sign or board on the left bears the readable wording “L. Jenkins”, with further fine writing that is too small to make out confidently.

In the lower half, angular yellow and red structures, beams and platforms cross in front of the houses. Several carry circular wheel-like forms with spokes; a larger grey-blue spoked wheel rises on the right. At the bottom centre-right, a substantial building has a broad blue-grey roof and a row of tall arched windows, with red-orange and yellow wall sections below. A narrow strip of green, scalloped shapes runs down the right edge beside the buildings.

The image is an illustration rather than a photograph. Black, sketchy outlines define the forms, and the coloured areas have visible irregular strokes and small marks, giving the scene a busy, drawn-on-paper appearance. Bright hues sit side by side with strong contrasts; the white title is the clearest text element, while the layered roofs, façades and machinery remain visually intricate throughout.