The postage stamp format is the structural metaphor of the entire cover. A stamp certifies, travels and connects distant places, exactly what this record proposes: an encounter between the Corsican polyphony of A Filetta and the Persian music of Constantinople and Kiya Tabassian. The artists names run around the composition rotating 90° and 180°, creating a circular reading with no beginning or end: neither culture precedes the other; both wrap around each other.

At the center, a large coral-red flower acts as the visual and conceptual heart of the cover. Its form simultaneously evokes the Corsican rose and the motifs of Persian miniature painting: it is the point of fusion where the two cultures dissolve into one another. Over it, the group emerges rendered in intaglio printmaking (one of the oldest printing techniques in the European tradition) connecting the modernity of the musical encounter with a deep historical resonance. The four engraved floral motifs in the corners reinforce that silent bridge between both traditions.

Three colors only: the navy blue/green of the frame (sober, like the ink of an official stamp), the coral red/yellow of the flowers (Mediterranean and Oriental at once), and the raw beige of the background, which gives the whole composition the patina of aged paper, of a document that has traveled. The title, Clair Obscur, names the proposal with precision: two distinct worlds that, upon meeting, illuminate each other.