He is a black silhouette now, and the name sits in front of him.

The colour problem, solved properly. A single fill can’t be readable over both a black body and pale paper: dark type vanishes on him, light type vanishes on the paper. So the name is white with difference blending: it comes out white where it crosses the silhouette and near-black where it crosses the page. One colour, correct contrast everywhere, and the switch happens exactly on his outline. Nothing is hand-placed, so it stays correct at every screen size.

Hover him and he steps in front of his own name. The silhouette is just the real cut-out with brightness turned to zero, so the man fades up in full colour, moves above the type, and grows a couple of per cent, while the name, the press line, the icons and the menu all fade away. What is left is one photograph and the word “Enter”. Clicking anywhere on him opens the site.

Why nothing survives the hover: the poster reads as a single object: the name and the body are one shape. The reward for touching it should be the man himself, with nothing else competing. “Enter” stays because it is the only thing telling you the click does something; over the colour photograph it switches from blend mode to plain white with a soft shadow, so it holds up against any tone underneath.

On a phone there is no hover, so the silhouette stays and the “Enter” cue is always faintly visible. Tapping him enters.

Everything else is unchanged: a poster, not a homepage. Menu hidden behind the trigger. Two lines of press bottom left, three icons bottom right.

Version 2 of 3. Here he steps in front and the whole page clears. Version 1: he stays behind the name. Version 3: only the name goes behind him.