Neville Brody Typeface Modular (Typography-First Brutalist Register)

Render the source image as a Neville Brody influenced album sleeve from the 1980s design register, in the visual language of The Face magazine typographic covers and Factory Benelux modernist record design. Composition built on a rigid modular grid (preferably based on the Golden Section or a 3x3 grid dividing the cover into zones). Source photograph or image reduced to a SINGLE PHOTOGRAPHIC ELEMENT: either (a) a small-scale image fragment (thumbnail-sized, positioned in one grid zone only) treated as a footnote to the typography, (b) the source rendered as a silhouette or high-contrast bitmap used as a background texture behind typography, (c) the source image completely absent and replaced with pure geometric abstraction (solid color blocks, grid lines, negative space). Typography dominates. Artist name, album title, and label information rendered in bold brutalist sans-serif (Helvetica Bold, Univers Bold, or custom geometric sans-serif designed for maximum impact), each word or letter occupying its own grid zone, creating a rhythm across the cover where the TYPE ITSELF is the compositional subject. No attempt to make the type readable as flowing text, instead treat each letterform or word-block as an architectural element in a modular system. Monochromatic color scheme or restricted palette (black on white with one accent color: red, cyan, or yellow). Material: matte uncoated board with emphasis on the flatness of the paper itself, the type as pressure on the surface, no gloss or coating, pure tactile grid. Square 12-inch LP-jacket aspect ratio. Mood: authoritative, architectural, the cover as a manifesto not a picture, typography as infrastructure. No image-centered beauty, only the severe clarity of typographic structure. Preserve the subject, pose, and composition of the source image exactly, change only the medium and rendering.