The designs of Persian carpets and rugs frequently incorporate patterns that are well-known among the Iranian population. In this portion of the document, certain recommendations are provided. Because Iran is home to a number of distinct ethnic groups, each of which practices a distinct set of cultural norms, adheres to a distinct set of religious tenets, maintains a distinct way of life, harbors a distinct set of ideas and concepts, and employs a distinct set of implements, the country's carpets reflect all of these aspects in their distinct patterns, designs, and topographies. 
Due to this, each of the numerous regions and cities has produced its own plan and map, which may be identified by the same region, tribe, or city name. The internet provides access to these blueprints and maps. It is evident that each of these factors used to create the carpet's texture is based on the geographical characteristics of the place, the legends and myths associated with They, and the living situations of the nation or region. This may be noticed by examining the designs and patterns as well as the colors used in these rugs. As a direct result of Iran's rich cultural composition, which is the result of the existence of numerous ethnic groups, a wide variety of carpet patterns have emerged. The same country or region that woven the pattern also inspired the manner of their names. Following is a description of some of the designs and maps are seen on Iranian carpets that have gained popularity due to their affiliation with Iranian tribes and nomads: Shah Abbasi design, Afshar design, Sancholi design, Bakhtiari design, Turkmen design, Balochi design, Khatami design, Sane design, Jan Begi design, Kurdish design, Qashqai design, Bistouni design, Shah Abbasi design, Broken garlic design.
- Age scheme
The asymmetric knot, also known as the "Seneh knot" among industry experts, is one of the distinguishing characteristics of this style of Iranian carpet.
- Afshar's strategy
The Afshar pattern carpet is one of the most recognizable carpets woven by Iran's nomadic tribes. This carpet can be traced back to the Afshar people. The Afshar plan had and still has a large number of ardent supporters within and outside of Iran. 
The Afshar pattern can take on a multitude of forms, both in terms of its fabrication and its surface roughness. However, eleven of its designs are woven more frequently and are better known than the baqa. Currently, the majority of afshar carpets are manufactured in the province of Kerman. The names of eleven well-known patterns belonging to this group may be found in the market of Sirjan, which is the principal location for the selling of nomad carpets in the Kerman region. These designs include the Parisi two-flower design, Heshmat flower design, three-headed design, cloud design, pulpit design, Musa Khani design, woodland design, shul or bandi design, chicken design, and pictorial design.
- Turkmen plan
Turkmen carpets are available in twenty unique designs and are customized to the clan or tribe that commissioned them. The blossom on the Turkmen carpet is identical to the bergamot portrayed on the Iranian carpet. Iranian nomads and villagers who speak Persian refer to the bloom as Hoz. The pattern and style of a Turkmen carpet include several instances of flowers. Garlic-red is one of the most prevalent hues utilized in Turkmen carpets. Brown and camel are also common colors. Ghazal design, Sarik Gol, Gaz, Salur Gol, and Akhal, Arsari Gol, Arsari, Jafarbai, Bashir, Sarik, Salur, Cheddar, Kirki, and Yamut are among the most well-known Turkmen carpet patterns. 
- Qashqai plan
The women and girls who weave Qashqai carpets create their designs and maps in their minds by pulling inspiration from the preceding customs and practices. This is one of the most remarkable features of Qashqai rugs. In contrast, with the evolution of carpet weaving through the years, maps are now occasionally used. Qashqai carpets are well-known and highly coveted not only in Iran but also throughout the rest of the world due to the distinctiveness of their designs, the beauty of their hues, and the excellent quality of their texture. The art and craft of carpet weaving in the province of Fars should be categorized first as a nomadic art and subsequently as a rural art dependent on nomads. The bulk of Qashqai and Khamsa nomads are responsible for the production of these rugs. These rugs are most usually known as Qashqai carpets, but they are also called as Shiraz carpets on occasion.
- Balochi plan
Patterns of trees and flower blossoms can be recognized in the form of repetitive rhombuses that are distinctive of carpets woven in the Balochi design style. These patterns and maps make use of elements like as flowers, bushes, and tree branches, most notably the Majnoon willow in its most basic and uncomplicated form. In addition to these characteristics, a number of additional forms are sometimes utilised. 
The checkered pattern, often known as "four homes," is an additional popular and typical design seen in Balochi carpets. Consider grouping this carpet with others that have brick or frame patterns. This category of carpet has a texture that is generally described as gritty. The carpet-weaving tribes and peoples of the Baloch nomads include Bahloli, Bayazidi, Kolah Darazi, Jan Mirzai, Rahim Khani, Barahui, Kurkhili (Salarkhani), and Hassan Zai. Each of these indigenous peoples has a legacy of weaving carpets and creating works of art in their heads, without using a pattern or patterns. In addition to reduced and undamaged patterns, the mental manufacture of these carpets use geometric forms and lines, such as rhombuses and hexagons.