Eight traditional motifs — Seigaiha, Asanoha, Shippou, Kikkou, Sayagata, Uroko, Tatewaku, Ichimatsu — rendered as 60 × 60 tiled patterns in soft, semi-transparent palettes.
For fashion houses, textile studios and surface designers. Each composition is generated from a numeric seed and can be licensed, adapted or commissioned to your brief.
An old motif, repeated without end, becomes a surface with its own breath.
I am an Iranian-born artist working at the intersection of traditional ornament and generative systems. My work begins with a simple observation: the repeated motif — wave, star, scale, mesh — has always been a form of computation, long before computers.
Japanese Patterns renders eight traditional Japanese motifs — Seigaiha (waves), Asanoha (hemp leaf), Shippou (seven treasures), Kikkou (tortoise shell), Sayagata (interlocking keys), Uroko (fish scales), Tatewaku (rising steam), and Ichimatsu (checkerboard) — on a 60 × 60 grid. Each motif has its own shape vocabulary and its own distribution rule.
A soft palette is drawn from one of six curated colour sets — blues, greens, earth tones, purples, ocean blues, or sunset tones — and rendered at three levels of transparency. A subtle gradient and occasional outline give the composition depth. Each piece is defined by a numeric seed and can be regenerated, documented, and adapted for print, textile, and surface applications.
The same seed, presented as an archival print — and applied across fabric, scarf, textile and wall surfaces without loss of structure.
Every surface below is drawn from the same numeric seed — its repeat, orientation and scale adapted to the material, while the underlying structural logic remains identical.
Eight motifs are available, each drawn from a different historical tradition: Seigaiha (waves), Asanoha (hemp leaf), Shippou (seven treasures), Kikkou (tortoise shell), Sayagata (interlocking keys), Uroko (fish scales), Tatewaku (rising steam), and Ichimatsu (checkerboard).
Each seed picks one of six curated palettes: soft blues, gentle greens, warm earth tones, soft purples, ocean blues, or sunset tones. Every palette pairs a light background hue with three or four companion colours, all rendered at one of three transparency levels for depth.
A very subtle gradient overlay sits behind the pattern, darkening toward the bottom edge. For three of the motifs (Asanoha, Kikkou, Uroko), a faint outline traces the shape at a slightly larger scale — giving the pattern crispness without introducing new colours.
Japanese Patterns is a generative design system rather than a single artwork. Its traditional-motif language can be adapted for fashion, textile development and other surface-oriented contexts — while maintaining a computational origin.
Each surface is drawn from the same numeric seed — reproducible, licensable, adaptable to your brief.