We briefed Ganesh Nimajjanam as a procession-row because the immersion is a moving farewell, not a static idol, and Cheriyal's festival-strip layout carries a march cleanly. The design risk was the modern hardware — a lorry and a hydraulic crane — which we drew as flat, bold-outlined folk shapes so they belong to the painting rather than reading as machine clip art. The Ganesha idol stays the large hero at the head, the dhol line and the dancing women with sparklers keep the procession's beat along the bottom, and the crane at the upper right reaching toward a blue tank tells you where the walk ends. Chrome-yellow sparkler bursts are flat star-shapes, not glow, the Nakashi way of suggesting light without shading.