Few geometric motifs survived a century of changing tastes and still feel current. The fan pattern in Art Deco design is one of them.
From the elevator doors of the Chrysler Building to Radio City Music Hall’s carpet, this radiating semicircular motif defined how the 1920s and 1930s understood luxury, precision, and decorative confidence.
Understanding where it came from, how it was used, and why it still works in contemporary interiors gives you a real advantage when working with this style.
This guide covers the origins, visual characteristics, architectural applications, and practical advice for using the fan motif today, whether in period-correct work or updated Deco interiors.
What is the Fan Pattern in Art Deco Design
The fan pattern in Art Deco design is a geometric motif based on the semicircular, radiating form of a hand fan, composed of evenly spaced lines emanating from a single point or arc. It is not a loose, organic form. Every rib is precisely spaced. Every arc follows a mathematical rule.
That precision is exactly why it fit so well into the broader Art Deco vocabulary, a movement defined by strict geometry, symmetry, and the belief that decoration should feel purposeful rather than decorative for decoration’s sake.
The motif appears in three main configurations:
- Full fan: a complete semicircle with radiating lines, used as a standalone panel or ceiling centerpiece
- Half fan: one quarter-circle rising from a corner, common in floor tile layouts and furniture inlay
- Overlapping fan: repeating units layered across a surface, creating a scallop-like tessellation on floors, wallpaper, and textiles
People often confuse the fan with the scallop or shell motif. They are related but distinct. The scallop is rounded and organic. The Art Deco fan has straight or only slightly curved radiating lines, a harder edge, and a much more mechanical feel. One looks like nature. The other looks like a technical drawing of nature.
It is also worth noting what the fan pattern is not: it is not a sunburst. The sunburst radiates from a full central point in all directions. The fan opens from a base point in one direction only, more like a sunrise than a sun. Taken together with the sunburst motif, these two radiating forms made up the backbone of Art Deco surface decoration.
Geometric Patterns held the largest market share at 35.7% of the global Art Deco glass market in 2024, according to Wise Guy Reports, reflecting the ongoing commercial pull of precisely structured motifs like the fan pattern.
Origins of the Fan Motif in Art Deco
The fan shape did not appear out of nowhere in the 1920s. It had been a decorative object in European culture for centuries, especially in Rococo and Victorian interiors. But Art Deco did something different with it. It stripped away the painted scenes, the lace edges, the softness, and kept only the structure: the radiating ribs, the arc, the geometry.
Japonisme and the Western Eye
Japanese woodblock prints and lacquerware introduced Western designers to the folding fan as a design element long before Art Deco existed. From the 1860s onward, ukiyo-e prints featured fans as compositional devices, their rigid geometry sitting in striking contrast to the flowing natural forms surrounding them. This visual tension caught the attention of European artists and craftspeople.
Japonisme, the Western absorption of Japanese aesthetic principles, was documented as early as 1872 by French art critic Philippe Burty. By the time Art Deco began taking shape in the 1910s, the geometric potential of the fan form was already embedded in the visual memory of Parisian designers.
Jean Dunand, one of the most respected Art Deco craftspeople, brought Oriental lacquerwork techniques directly into the mainstream of French decorative arts. His work influenced the entire Societe des Artistes Decorateurs, pushing East-meets-West material sensibilities into the broader Art Deco movement.
The 1925 Paris Exposition as the Turning Point
The Exposition Internationale des Arts Decoratifs et Industriels Modernes, held in Paris from April to October 1925, standardized and cemented the fan pattern as a key geometric motif. Covering 55 acres from the Grand Palais to Les Invalides, the exhibition pulled together designers from across France and Europe who had been independently working with radiating geometric forms.
It was here that the fan shifted from a borrowed motif to an Art Deco signature. The strict rules of the exposition (no historical copying, only modern forms) forced designers to reinterpret their references mathematically. The fan, already known, became formalized.
The Egyptian Revival Contribution
Howard Carter’s 1922 discovery of Tutankhamun’s tomb sent a wave of Egyptian imagery through Western design. Papyrus column capitals, scarab forms, and palm frond arrangements all featured radiating structures. These reinforced the fan motif’s visual vocabulary at precisely the right moment.
The result was a convergence. Japanese fans, Egyptian papyrus, and machine-age precision all pointed in the same direction: a clean, radiating semicircular form that could be drawn with a compass and a ruler.
Art Deco itself, per Britannica, originated in France in the mid-to-late 1910s and came to maturation at the 1925 Paris Exposition, before developing into a major style across the United States during the 1930s.
Visual Characteristics of the Art Deco Fan Pattern
Put an Art Deco fan next to a Victorian one and the difference is immediate. The Victorian version has soft curves, gradient shading, painted motifs. The Art Deco version looks like it was produced on a drafting table.
Geometry and Construction
Every rib spacing is equal. Every arc is consistent. The radiating lines in an Art Deco fan do not taper or vary. They hold the same weight from base to tip, and the distance between them stays constant whether you count from left, right, or center. This mathematical regularity is the first thing that identifies authentic period work versus loose interpretations.
The tiered fan adds stepped edges to the arc, borrowing from the ziggurat forms that appeared throughout Art Deco stepped architecture. Each arc becomes a series of small horizontal notches, giving the fan a more complex silhouette without abandoning geometric discipline.
Color and Surface Treatment
| Palette Combination | Typical Application | Associated Surface |
|---|---|---|
| Black and gold | Lacquered panels, jewelry | Cabinet doors, brooches |
| Navy and cream | Ceramic tile, textiles | Bathroom floors, upholstery |
| Jade and ivory | Inlay work, glass | Furniture marquetry, vases |
| Chrome and black | Metalwork, architectural detail | Elevator doors, grille panels |
The Art Deco color approach relied on high contrast to make geometric edges read clearly. A fan in two similar tones loses its definition. In black and gold, every rib line pops.
Material Expressions
The fan pattern crossed materials more freely than almost any other Art Deco motif. In metalwork: sharp-edged, chrome-outlined, polished. In glass: etched or cast, with the ribs catching and refracting light. In lacquer: deeply pigmented, with gold leaf ribs applied by hand. In tile: each rib a separate piece, grouted into crisp lines.
Rene Lalique’s approach to radiating glass forms showed how the same underlying structure could look entirely different depending on the material’s relationship with light. His translucent glass pieces turned the fan into something closer to a light diffuser, while his opaque pieces made it a flat graphic statement.
Fan Pattern Applications in Architecture and Interiors
The Art Deco era saw the fan pattern move from decorative objects into the bones of buildings themselves. It appeared in public spaces that were meant to project modernity, luxury, and confidence. Theaters, hotels, department stores, and ocean liners all used it, though each applied it differently.
Plasterwork, Friezes, and Ceiling Treatments
Plasterwork ceilings were among the most visible architectural uses of the fan. Applied as individual panels or as continuous friezes running the perimeter of a room, the radiating motif worked well at ceiling scale because it naturally led the eye outward toward the walls.
Radio City Music Hall’s auditorium ceiling is one of the most documented examples. Designer Donald Deskey, who had attended the 1925 Paris Exposition, used concentric radiating forms across multiple ceiling surfaces to create a sense of depth and movement without any representational imagery. Deskey combined glass, aluminum, chrome, and leather throughout the interiors, and the fan motif carried through each material type.
Key architectural uses of the fan pattern:
- Plaster ceiling medallions and coffers in theaters and hotels
- Wrought iron balcony railings where each section forms a fan between uprights
- Elevator surround panels, particularly in lobby treatments
- Floor tile tessellations using fan and half-fan units
- Stained glass and backlit panels in public building entrances
The Chrysler Building’s elevator doors are among the most photographed examples of the fan in architectural metalwork. When closed, the doors form a composition of tall radiating fan shapes set within metallic palm frond surrounds, creating what architectural historians have called one of the most beautiful interior features in the entire building.
Fan Patterns in Art Deco Furniture
Emile-Jacques Ruhlmann pioneered the use of fan inlay on high-end furniture commissions. His lacquered cabinet doors often featured fan panels executed in contrasting exotic veneers, with the ribs defined by lighter wood inlaid into darker grounds. The result was decoration that appeared to grow out of the material itself rather than being applied to it.
Waterfall furniture (the popular, more accessible face of Art Deco) carried simplified fan details on headboards, wardrobe tops, and sideboards. Where Ruhlmann used rare veneers, mass-market pieces used routed grooves or applied moldings, but the geometric language was consistent.
The SS Normandie carried Ruhlmann’s design philosophy to its most concentrated expression. As the flagship of French luxury ocean travel, her first-class cabins and grand salons were fitted with marquetry panels and lacquered surfaces featuring geometric motifs including fan forms throughout her interior spaces.
Fan Pattern in Art Deco Textiles and Fashion
The fan translated into fabric and clothing more naturally than almost any other Art Deco motif. It had been a literal object in women’s fashion for decades before the 1920s. Art Deco simply made it abstract.
Flapper Fashion and Beadwork
The silhouette of 1920s women’s fashion was itself a kind of fan shape: narrow at the shoulder, flared at the hem. Beaded evening wear made this explicit by placing fan motifs at hemlines, cuffs, and necklines where the geometry of the garment’s movement reinforced the pattern.
Typical beadwork placement in period garments:
- Hemlines with arcing bead rows that fanned outward as the wearer moved
- Sleeve cuffs with compressed fan designs in jet and crystal
- Bodice panels with vertical radiating bead lines anchored at the waist
Paul Poiret’s influence on this was indirect but significant. His rejection of the corset and embrace of looser, more geometric silhouettes in the 1910s created the template that 1920s fashion designers built on. By the time the fan motif was standard in beadwork, Poiret’s structural ideas had already changed how women’s clothing related to the body.
Printed Fabrics and Interior Textiles
Silk and velvet fabric prints from the 1920s and early 1930s regularly featured overlapping fan arrangements, often in three or four colors. The repeat was typically a half-drop pattern, meaning alternating rows were offset so no two fans aligned vertically, creating a more dynamic surface than a straight grid would allow.
Carpet and rug design carried fan patterns at a much larger scale. Border treatments with fan repeats were common in rooms that also featured fan ceiling plasterwork, creating a floor-to-ceiling design unity that felt intentional rather than incidental.
Fortuny’s approach to fabric sits slightly outside the mainstream of Art Deco but is worth noting. His Venetian workshop produced pleated silk fabrics whose structure created radiating lines when the cloth was gathered, a construction-based version of the fan that predated the 1925 exposition’s formalization of the motif.
Fan Pattern in Art Deco Jewelry and Decorative Objects
Jewelry is where the fan pattern got precise. At small scale, every degree of the arc and every millimeter of rib spacing was measurable and intentional. The best period pieces feel like engineering drawings that happen to be wearable.
Brooches, Hair Combs, and Personal Accessories
The fan silhouette was an almost perfect brooch shape. Wide at the top, narrowing to a point or flat base, it filled a lapel or neckline naturally. Cartier and Van Cleef and Arpels both produced fan-shaped brooches in the 1920s, using calibre-cut gemstones (small, precisely shaped stones cut to fill geometric spaces) to define the ribs within the fan structure.
| Object Type | Fan Application | Key Materials |
|---|---|---|
| Brooch | Full fan silhouette with gemstone ribs | Platinum, onyx, diamonds, coral |
| Hair comb | Fan spread across the comb’s arc | Tortoiseshell, silver, paste stones |
| Compact / powder case | Fan engraved or enameled on lid | Gold-filled metal, enamel |
| Cigarette case | Radiating line pattern across face | Silver, niello, lacquer |
Hair combs were a particularly rich area for fan design. The comb’s arc is itself a fan shape, and designers leaned into this by treating the entire comb as a single radiating motif rather than applying decoration to a utilitarian object.
Glass and Perfume Objects
Rene Lalique’s contribution here was significant and well-documented. After transitioning from Art Nouveau jewelry to Art Deco glass around 1920, Lalique applied radiating and fan-like structures to perfume bottles, vases, and decorative panels.
His work for the SS Normandie in 1935 included illuminated glass columns and wall panels for the grand salon and dining room, where light passing through frosted, geometrically structured glass created shifting fan-like projections across interior surfaces. This was among the earliest examples of light being directly built into architecture, per Wikipedia’s documentation of the Normandie’s design.
Perfume bottles with fan-molded stoppers or fan-pressed bodies were produced both by Lalique and by lower-cost manufacturers copying his approach. By the late 1920s, the fan stopper had become a near-standard form for prestige fragrance packaging, appearing in department store glass counters across Paris, London, and New York. These objects are a good example of how decorative details in the Art Deco period operated at every price point, not just at the luxury level.
The Art Deco glass market was valued at USD 1.2 billion in 2024 and is projected to reach USD 2.5 billion by 2033 at a CAGR of 9.1%, according to Verified Market Reports, suggesting that collector and designer interest in period glass objects, including Lalique-style fan-patterned pieces, remains commercially active well into the present decade.
Fan Pattern Variations Across Art Deco Sub-styles
Art Deco was never one thing. It was a family of related styles that evolved differently depending on where they landed and what decade it was.
The fan pattern followed that same trajectory. Its core geometry stayed consistent, but the way it was executed, scaled, colored, and combined with other motifs changed dramatically between Paris in 1925 and Miami Beach in 1940.
French Art Deco: Craftsmanship Over Everything
High-craft execution was the defining quality of French Art Deco fan work. This was the version Emile-Jacques Ruhlmann represented: marquetry ribs in rare veneers, lacquer panels with gold leaf detailing, and fan motifs that took skilled craftspeople weeks to produce.
French pieces carried a deliberate luxury message. The fan was not a surface pattern here. It was a demonstration of technical mastery, positioned to remind the buyer exactly what they were paying for.
American Streamline Moderne: Simplified and Scaled
Streamline Moderne arrived in the 1930s with the Great Depression pressing down on decorative budgets. Rounded corners replaced sharp angles. Horizontal banding replaced vertical rib structures. The fan simplified into a flattened arc.
Key shifts in the American Streamline interpretation:
- Chrome and Bakelite replaced lacquered exotic wood
- Fan forms used on mass-produced objects: radios, jukeboxes, kitchen appliances
- Graphic simplicity over artisanal complexity
The Miami Beach Architectural District, per the Miami Design Preservation League, developed during this second phase of Art Deco, building primarily during the Streamline Moderne period between the stock market crash and the start of World War II.
Tropical Deco (Miami Beach): Pastel and Nautical
Tropical Deco is exclusive to Miami and the surrounding region. Miami Beach architects applied local imagery to the standard Deco vocabulary, producing a version with pastel colors, nautical motifs, and a generally lighter surface treatment.
Fan patterns in Tropical Deco appeared in terrazzo floor inlays and stucco facade reliefs, often in soft pink, turquoise, or pale yellow rather than the black-and-gold of French originals. The Miami Beach Architectural District contains 960 historic buildings, the largest collection of Art Deco architecture in the world, per Wikipedia’s documentation of the district.
Hollywood Regency: Theatrical Scale
Hollywood Regency used the fan pattern as a set-design device rather than a decorative motif. Scale went up dramatically. A fan that would be 12 inches across on a French cabinet became a 6-foot ceiling panel or a full-wall mirror arrangement in a Regency interior.
Typical Hollywood Regency fan applications:
- Oversized mirrored panels cut and arranged into fan compositions
- Draped fabric backdrops with fan-shaped gathered forms
- Lacquered furniture with enlarged fan motifs covering entire drawer faces
Cedric Gibbons, art director at MGM who attended the 1925 Paris Exposition, brought these ideas back to Hollywood film sets, according to the National Building Museum. His influence on domestic interiors through film production is well-documented, with audiences literally copying what they saw on screen.
If you find this style interesting, there is a broader Hollywood Regency home decor guide that covers how to work these theatrical proportions into residential spaces without it feeling like a film set.
How to Identify Authentic Art Deco Fan Pattern Work
The market for Art Deco pieces is active and growing. The antiques and collectibles market was valued at USD 238.1 billion in 2024 and is expected to reach USD 402.9 billion by 2034, according to Global Market Insights. With that kind of demand comes a parallel market in reproductions.
Knowing the difference matters whether you are buying furniture, tile, jewelry, or decorative objects.
Materials as the First Filter
Platinum, not white gold, was the metal of the Art Deco period in fine jewelry. Platinum allowed thinner, more precise settings for calibre-cut stones. White gold is a later substitute. If a piece advertised as Art Deco period uses white gold throughout, that signals either a later piece or a reproduction.
For furniture, hand-laid veneers with visible grain matching around fan ribs indicate period work. Cast or printed fan patterns, where the rib lines have no depth variation, point to reproduction. The difference is most clear under raking light: a hand-executed fan casts tiny shadows from the veneer edges, while a printed one stays completely flat.
Geometric Precision as a Dating Tool
Period Art Deco fan work was mathematically consistent because it was drawn by hand with compass and ruler before being transferred to the material. Each rib is equally spaced. Each arc follows the same radius from the same center point.
| Feature | Authentic Period Work | Reproduction Tell |
|---|---|---|
| Rib spacing | Perfectly equal by compass | Slightly uneven, especially at edges |
| Arc consistency | Same radius throughout | Arc flattens or shifts mid-pattern |
| Color edges | Hard lines, no bleed | Soft transitions, inkjet-style blending |
| Surface wear | Natural patina on high-contact areas | Artificial distressing uniform across surface |
Reproductions typically have slightly inconsistent spacing because even careful modern machine production does not replicate the specific method of hand-compass drafting followed by hand-transfer that period craftspeople used.
Hallmarks, Maker’s Marks, and Patina
For jewelry, French hallmarks are the most reliable indicator. The eagle head stamp confirms 18K gold content. The dog head confirms platinum. These were assay-office marks applied by the French government, not by the maker, and they cannot be faked easily without the marks themselves being visibly off under magnification.
For glass objects, Lalique pieces carry a molded or etched signature. Pieces marked “R. Lalique” pre-date 1945 (Rene Lalique’s death). Pieces marked “Lalique France” without the “R.” are post-1945 production, still valuable but from a different generation. This distinction matters significantly to serious collectors.
Authentic vintage pieces develop a natural patina on high-contact areas (clasps, hinge points, the base of handles) that cannot be convincingly replicated by artificial distressing, per Dover Jewelry’s authentication guidance. If the wear pattern seems uniform across the entire surface rather than concentrated on contact points, that is a flag.
The antiques and collectibles market’s art and antique segment alone accounted for 32.9% of total collectibles market revenue in 2025, according to Grand View Research. When that much money moves through a category, the incentive to produce convincing reproductions rises accordingly.
Using the Fan Pattern in Contemporary Art Deco-Inspired Design
Art Deco is having a clear revival. Homes and Gardens noted in 2024 that “updated Deco” had become a dominant trend, blending 1920s and 1930s geometry with contemporary materials and muted palettes. The fan pattern is central to this.
The practical challenge is scale and combination. The fan is a strong motif. It does not need much help to make an impact, and it does not share space easily with equally dominant patterns.
Wallpaper and Accent Walls
Fan pattern wallpaper is now widely available from contemporary suppliers including Hovia, Rebel Walls, and ONDECOR, with options in everything from traditional navy-and-gold to sage-and-burnished-gold for softer rooms.
Placement rules that actually work:
- One wall only, against three neutral-painted walls
- Matte background with metallic inks for daytime subtlety and evening presence
- Avoid pairing with a second geometric pattern on adjacent surfaces
The radial balance created by a fan pattern wall anchors a room’s focal point immediately. This is exactly where the motif earns its place: as the single dominant element that everything else organizes around. For full guidance on how to approach this effectively, the resource on accent walls covers the practical decisions around scale, position, and contrast.
Tile: Kitchen Backsplashes and Bathroom Floors
Fan tile (sometimes sold as “scallop tile” in contemporary markets) works particularly well in bathrooms and kitchens because the shape’s geometry references both the period aesthetic and the clean surfaces those rooms require.
Scale considerations:
- Small repeat (2-3 inch fans): suits floors and detailed feature areas; high visual density
- Medium repeat (4-6 inch fans): versatile, works as backsplash or shower surround
- Large statement (8+ inches): better on walls than floors; pairs with simple grout lines in contrasting color
Grout color is a more significant decision than most people realize with fan tiles. Black grout on white fan tile reads as a hard, graphic, period-correct graphic statement. White grout on the same tile reads softer and more contemporary. Both are legitimate choices, but they produce very different results.
Mixing the Fan Pattern with Other Art Deco Motifs
The fan shares DNA with the chevron and the zigzag, but combining all three in one room produces visual noise rather than period authenticity. Period rooms rarely used more than two dominant geometric motifs simultaneously.
| Pairing | Works | Why |
|---|---|---|
| Fan + stepped forms | Yes | Both use radiating/angular geometry; naturally complementary |
| Fan + chevron | In moderation | Keep them on different surfaces (floor vs. wall) |
| Fan + sunburst | Carefully | Both are radiating forms; one must dominate clearly |
| Fan + zigzag | Avoid | Two strong competing directional motifs; visual conflict |
The broader principles of pattern use apply directly here: repetition builds rhythm, but only when the patterns share a common visual logic. The fan’s radiating lines work with stepped forms because both imply upward movement. They conflict with the horizontal zigzag because the directional pull is opposite.
For the full picture of how Art Deco translates into a coherent room, the Art Deco living room guide covers how these decisions work together across furniture, lighting, and surface treatments in a single cohesive space. And if you want to understand the broader design movement that houses all of this, there is a detailed guide on what Art Deco interior design actually involves beyond just its most recognizable motifs.
The second-hand luxury market, which includes authenticated period Art Deco pieces, is projected to nearly double from USD 44.7 billion in 2023 to USD 98.3 billion by 2031, according to Ronati’s industry analysis. That kind of trajectory confirms what designers working with this aesthetic already sense: Art Deco is not nostalgia. It is a live design language with active commercial and cultural momentum.
FAQ on Fan Pattern in Art Deco Design
What is the fan pattern in Art Deco design?
The fan pattern is a geometric motif based on a semicircular, radiating form with evenly spaced lines emanating from a single base point. It appears across architecture, furniture, textiles, and jewelry as one of Art Deco’s most recognizable decorative elements.
Where did the Art Deco fan motif originate?
It drew from Japanese woodblock prints, Egyptian papyrus forms after the 1922 Tutankhamun discovery, and folding fan traditions in Asian decorative arts. The 1925 Paris Exposition standardized its geometric interpretation and spread it internationally.
How is the fan pattern different from a scallop or sunburst?
The fan opens from a base point in one direction only, with straight radiating lines. A scallop is rounded and organic. A sunburst radiates in all directions from a central point. All three appear in Art Deco, but they are structurally distinct.
What buildings feature the Art Deco fan pattern?
The Chrysler Building’s elevator doors and Radio City Music Hall’s auditorium ceiling are the most cited examples. Miami Beach’s Tropical Deco district, the SS Normandie, and London’s Hoover Building also feature prominent fan pattern applications.
What materials were used to create Art Deco fan patterns?
Designers worked across metals, lacquered wood, glass, enamel, ceramic tile, and textiles. René Lalique used frosted glass. Emile-Jacques Ruhlmann used exotic wood marquetry. Architectural applications used plaster, wrought iron, and terrazzo tile.
How can I tell if an Art Deco fan pattern piece is authentic?
Check rib spacing with a ruler. Period work is mathematically consistent, drawn by compass. Look for natural patina on high-contact areas, French hallmarks on jewelry, and signed marks on glass. Reproductions often show slightly uneven spacing or uniform artificial distressing.
What colors are typical in Art Deco fan patterns?
Black and gold is the most iconic combination. Navy and cream, jade and ivory, and chrome against black are also common. High contrast was deliberate, making each radiating rib line read clearly across the surface.
Can the fan pattern work in contemporary interiors?
Yes. Fan pattern wallpaper, backsplash tiles, and upholstery fabrics are widely available from current suppliers. The key is restraint: one dominant application per room, paired with neutral surfaces on the remaining walls and floors.
What is the difference between French Art Deco and American Streamline fan patterns?
French Art Deco used hand-crafted marquetry and lacquered panels with high artisan detail. American Streamline Moderne simplified the fan into flatter, chrome-outlined forms suited to mass production, appearing on radios, appliances, and commercial facades.
Which Art Deco designers used the fan pattern most prominently?
Emile-Jacques Ruhlmann used it in luxury furniture inlay. René Lalique incorporated it into glass objects and the SS Normandie’s interiors. Donald Deskey applied radiating fan forms throughout Radio City Music Hall’s ceilings, carpets, and wall treatments.
Conclusion
This conclusion is for an article presenting the fan pattern in Art Deco design as one of the most geometrically precise and culturally layered motifs of the 20th century.
From Japonisme and Egyptian Revival influences to the lacquered marquetry of Emile-Jacques Ruhlmann and the terrazzo floors of Miami’s Tropical Deco district, the radiating fan shape carried consistent visual logic across wildly different materials and contexts.
That consistency is exactly why it still works. Whether you are sourcing authentic period pieces, learning to spot reproductions, or applying a geometric fan motif to a contemporary backsplash or accent wall, the underlying principles remain the same.
Precision, contrast, and restraint. Get those three right, and the fan pattern does the rest.
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