Question: As part of my guitar practice routine, I work on a rotating schedule of practicing Melodic Patterns. And when I'm studying music theory and analyzing a particular song, part of that analysis includes noticing any repeating patterns we usually refer to as motifs. My Question is, for all intents and purposes are these patterns the same thing just going by two different names?

Answer: 
The small notehead with the eighth-note tail and slashed stem is a type of grace note named an *acciaccatura*, a crushed note, one you squeeze in just before the following note, which still occurs on the beat. 

In the second highlighted bar, on the second beat you play C and E quarter notes, and also play the eighth notes B then A. The notation with sticks up/sticks down is for clarity. If the eighth notes also has sticks up it would look worse and be harder to read. Like lots of notation, there are visual clues. You need to look at more than just the noteheads.
Acciaccatura has been covered. It has no real length value of its own - hence it's written using a small dot. It doesn't count towards the (already) 4 beats in that bar.

The quavers are written as a separate *voice*, with their stems going in a different direction to show that. Imagine one instrument playing the up stems, and another the downstems. It would have been possible to write that bar with all upstems, but it would be played subtly differently. Doing that would mean the 3 notes would all stop as the A note is played. The composer didn't want that - he wanted the C and E to continue while the A was played. Only way to write that simply is how it is.