The geometrical patterns and basic designs are similar to the equally abstract decorations on vases, seals and figures.

A splendid V-shaped necklace adorning the so-called "Lady Vincha". Here the geometric pattern has an evident decorative function, but at the same time conceals the key symbol of the bird goddess: the V on the goddess's vulva also has an ideogram inscribed on it, transmitting a specific message.

It is not always easy to distinguish writing signs from geometric decorations. The artistic, abstract and schematic motifs share the same geometrical root as the writing signs. Sometimes it is also true that there is no evident distinction between writing signs and ornaments of a naturalistic origin.

This is true of the stylised drawings of necklaces, bracelets, garments, hairstyles and sandals on the figurines. With such a thin borderline between them, how can we distinguish a decorative design from a written text? Until the script is finally deciphered, it is impossible to recognise the writing signs as such.

Harald Haarmann(1995) observes that the texts have a greater inventory of signs than decorations. The text elements also possess an individual quality, an asymmetric co-ordination and a precise sequential alignment.

This linear sequence includes both naturalistic and abstract signs. The writing signs are both isolated and placed in groups. Finally, the basic forms are given simple or multiple variations by adding signs such as strokes, dots, and arches. Thus simple signs are transformed into complex ones.
The major characteristic of the decorative motifs is an aesthetic sense of symmetry.