DESIGN BRIEF: This fusion piece lives or dies on the translation problem — not the tourist poster that stacks sun, moon, huts, and tarpa ring on every canvas. Urban-fusion Warli must answer how a cycle commute reads when your only tools are triangle bodies, circle wheels, and a single white line on ochre. Horizontal-band symmetry was the layout decision: classical Warli farming and river scenes already move left-to-right in narrative bands across mud walls, so a Pune morning lane could inherit that grammar instead of inventing perspective depth or a dance spiral we explicitly banned for non-tarpa subjects. The cyclist sits dead centre because the hero band needs a fulcrum — city infrastructure left (blocks, lamp, metro on arches), Sahyadri ridge and walkers right — the same compositional handshake as village-to-forest transitions in Palghar wall panels. We simplified what breaks stick-line discipline: no facial features beyond bun dots, no registration plates, no gradient sky. We kept legible: spoked wheels, basket square load, metro arch bridge, dotted path border. Light density (~45% fill) preserves airy ochre ground so the panel feels like a wall between harvest seasons, not a packed chauk wedding square.