The brief was the Janmashtami seat as one clear medallion rather than a crowded scene: Krishna's cradle at the centre, his peacock-feather crown rising from it, the flute laid below, a conch on each side, and a single lotus mandala around it all. We held the fill near half so the geru ground reads inside the medallion and between the rings, the way a festival chowki looks drawn fresh the night before the birth. In Kumaon and across the hills, Janmashtami marks Krishna's midnight birth — a small cradle is set up and rocked, and the flute and peacock feather are his constant signs — so those are the whole iconography here, with the conch sounded at worship. The central-medallion symmetry seats the cradle the way the rite does. White biswar on geru, no third colour.