Cord-marked pottery with geometric incised patterns is regarded as an important trait of the Ta-pen-keng culture (6500-4200 BP), the beginning of the Neolithic stage in Taiwan. This paper presents first-hand data on features of impressed and incised motif patterns observed on more than 200 cord-marked pottery sherds of the Ta-pen-keng culture from sites distributed in western Taiwan. The cord-marked pottery data was donated by colleagues or collected by the author in 20 years of fieldwork. The sherd samples were collected from the following 8 sites, going from north to south: the Ta-pen-keng site and the Chih-shan-yen site in Taipei; the Jung-chuan-tsun site in Taichung, the Wang-liao site and Pa-chia site in Tainan, and the Liu-ho site, Kung-chai site, and the Hsin-yuan site in Kao-hsiung. The amount of cord-marked pottery sherds collected from each site varies considerably, with most having been collected from the Chih-shan-yen, Liu-ho, and Kung-chai sites. The motif patterns observed from the above sites include straight line series and arc line series. The straight line series consists of four types of patterns: straight lines, crossed lines, zig-zag lines, and oblique parallel lines shaped like a ladder. The second series consists of two types of patterns: S-shaped lines and arc zig-zag lines shaped like small waves. Each type in both series feature a diversity of patterns from single line to multi-line. Six motif pattern types were found at the Chih-shan-yen site and the Pa-chia site, and five types were found at the Liu-ho site and the Kung-chai site. The 6 sites in eastern Taiwan are, from north to south, the Yen-liao site and the These six types of motif patterns are also found in several sites located in eastern Taiwan. The author compares the motif patterns with data published in 2014 collected from 6 sites located in eastern Taiwan in order to emphasize those traits from patterns observed in the western Taiwan sites. Kang-kou site in Hua-lien, and the Chang-kuang site, Pa-sang-an site, Chih-tien site, and the Pei-nan site in Tai-tung. Similarities and developmental relationships exist between patterns from western and eastern Taiwan . According to observation of the incised grooves of line patterns, the author suggests how the pottery makers may have incised the patterns; the author also considers the aesthetics of the patterns. The conclusion of the paper is that the patterns impressed and incised on pottery of the Ta-pen-keng culture developed to be a nearly stable tradition over 2,000 years. The patterns are indicative of something important to the Ta-pen-keng pottery makers, and their stability also implies about the significance of inheritance. The motif patterns might indicate a series of historical markers of the Ta-pen-keng culture.