The subject of my thesis was inspired by Simon Hantaï's 'pliage' paintings, whose highly decorative appearance creates a pattern-like effect. Taking into account the pattern-making techniques used in textile design, as well as the technical and visual aspects of printed pattern design, I analyse the artistic processes and innovations to which Hantaï's folding-based method can be traced back, such as gestural painting or all-over painting. Based on these methods I explore Hantaï's path to the 'pliage' painting technique, and then focus on his work in the 1960s and 1970s through the lens of his particular painting style and the pattern-making techniques of textile design. My research analysis was guided by a set of criteria (craftsmanship, mark making, repetition, and decorativeness) that I set up to help define the intersection of painting and pattern-making.