Character art that sits between observation and invention is exactly where silhouette work lives. When I am designing a figure I lose whole nights on whether the shape reads before any detail goes in, and seeing someone build a whole world around the human form while keeping that figure clear is the thing I am still getting wrong. You are holding both at once.

The human figure as the anchor and everything else building the atmosphere around it. That approach makes sense when you're working between observation and invention, when the portrait is not just a face but a whole constructed world. I'm a pencil person mostly, so I'm fascinated by how you layer atmosphere without losing the figure itself. That balance between rich colour and clarity is hard to hold, and it sounds like you've found where those things meet in your practice.