Two-tone effects of contrasted colours are not greatly used. They are sometimes employed in small designs, with two colours only, or three (one and a contrasting pair), but more often in bold designs of the Empire, Adam, or Wedgwood style, with three or four shades of one colour, upon a ground, or working against a pair of shades, of another; but effective combinations on these lines are rare.
By far the largest proportion of carpets made are multi-coloured; and nearly every style and fabric is adaptable to treatment in this way.
It is impossible to deal properly with the question ê°•ë‚¨ì˜¤í”¼
of many-coloured carpets except at great length; but, as a basis, it may be useful to remember that there are only three primary colours, and that in every multi-coloured carpet there should be represented some red, some yellow, and some blue. That is not saying that these should be primaries. The red may be a terra-cotta, the yellow a tan, the blue a slate. But if you have forty shades in a carpet they can all (except, of course, black and white) be scientifically analysed into reds, yellows, and blues, even if some of them are secondaries or tertiaries. That is to say, that, according to its collocation, a purple will be acting either as a blue or as a red, a green either as a yellow or as a blue, and so on. It follows, therefore, that in practice the carpet designer or colourist who has a large range of colours at his disposal will arrange them in sets: a tan with a cream, three blues, two reds and a ruby, and so on.