The brief was to put a figure at the centre without losing the diagram: the bride drawn in fine biswar line lifting her pichhora, with the veil's signature dotted-rosette field carried as pattern, all gathered inside an oval ritual mandala rather than floated free. We held the fill near half so the geru ground shows through the veil and around the oval, the way an Aipan diagram leaves earth open. The pichhora is the ochre-and-yellow ceremonial veil-cloth Kumaoni women wear at weddings and rites, scattered with sun, swastika, and bell motifs — so translating it into white-on-geru line lets the same household craft that paints the wedding floor also frame the bride. The lotus corners and swastikas are the everyday Aipan blessing-marks; the oval is the chowki turned portrait-frame. No second colour, the line doing all of it.