Well you followed the classic method of the Pen Masters. I wouldn't call that a limitation! Technically, it's quite an accomplishment. One has to be aware, however, of the limitations. The Masters were aware, which is why they CHEATED. haha. (i.e. wash tones, as mentioned in the note). They were really painting with their pens, thinking hard and carefully about tonal contrast and blending in terms of the entire composition. They made it work.
These pencil examples are so delicately refined that I don't see how it's possible to translate them into ink, directly. The desired effect is a satin finish executed with a 104, or other ultra fine flex nib. I tried for years to get master such a technique, and maybe came close with some things I did last Inktober, but, still, it's way over my head.
All the same, it's not the technique that's on display; it's the composition. And I would play with the designs to maximize the effects.
Here's what I mean by tonal schemes - the basic five - with applications. (BTW- that satin effect I mentioned is on the girl's face, second image to the last at the bottom.)
So, then, you could play with your images in Clip Studio Paint, or PS, etc., to explore different tonal schemes. And you could do that without messing up the originals.