DESIGN BRIEF: Warli craft scenes fail when they borrow the tourist poster kit — tarpa musician at centre, chauk square below, sun and moon crowding the same wall. This bamboo-weave subject demanded a different grammar: vertical-axis symmetry so the stake lines read as loom architecture, not dance geometry. Talasari basket craft is the hero — seated weaver triangle at centre, rectangular frame of vertical poles, finished cross-hatch vessels in the register below — and everything else supports that vertical rhythm. I refused a tarpa circle entirely; refused a dominant lagnacha chauk; refused perspective depth that would turn the stool into furniture catalog. What stays: the central tree as life-axis (circle fruit clusters, not decorative filler), mirrored palm-and-mountain vignettes as Sahyadri ground truth, flanking pole bundles as raw material staging, and two squatting assistants at the base handling strip prep — the way village panels layer process top to bottom. Light density keeps ochre breathing (~45% fill) so white stake lines stay legible at A2 without the panel feeling like a mud-wall smear.