The brief was forest-scatter symmetry for a classical hunting subject — not the marketplace Warli default where every wall gets a tarpa musician whether the scene is ploughing or passport control. Bow hunt in Vikramgad grammar means scattered circle-canopy trees, triangle hunters at varied scale, and deer read as rectangular bodies with antler forks — the way rice-paste walls once showed communal forest drives before cultivation replaced hunting as daily narrative. Forest-scatter lets the hero hunter occupy a hatched hill centre-left while secondary bow and spear figures chase at the margins without forcing a concentric dance ring. What we refused: tarpa spiral, central chauk square, perspective depth on the bow arc, and photoreal deer anatomy. What we kept legible: quiver arrow lines on the primary hunter's back, shield circle on the spear runner, antlered deer leaping upper register, palm frond tree for Sahyadri forest variety, and generous ochre breathing room between saplings. Light density (~42% fill) preserves the wall-painting air classical Warli needs — empty ground between trees is compositional silence, not unfinished canvas.