An ornamental and coloristic basis comprises the dominant ethnic determinant of Bashkir folk art. Within the structure of the development of modern ethnic design, the ornament is also one of the most proactive factors. Tamgas’ modular units, Turkic runic writing graphemes and traditional ornamental basic motifs together form a triad consisting of several dozen elementary, stylized graphical units and, as an aggregate, constitute the fundamental principle behind the entire pictorial information system of Eurasian Mongol–Turkic nomadic culture. Folk artists, while transforming them in various ways, have over the centuries created thousands of derivative variations. Identifying these well-established modification techniques of ornamental and Tamgas-type elements on the basis of comparative structural analysis provides us with new opportunities in the field of the creation of modern decorative compositions. The active application of graphical design software opens up limitless creative possibilities for the use of these traditional modification methods in the professional work of designers in various fields. A thorough theoretical study of the artistic heritage and creative development of ornamental and iconic structures’ transformation principles in schools will help in the comprehension of folk art traditions at a new level. Thus, the study of the abovementioned triad in this context provides great practical value for the successive development of regional ethnic design.