Inventing your own patterns to play is also a cool thing. Don’t try to use these unless you first understand where to place these arpeggios over the correct chords.
The first is a pattern based on the whole tone scale. It is moveable by intervals of 2 frets up and down the entire fingerboard.

———6-8-|—–8—–10——12-|—–6—–8—–10-|
—–5-7—–|—7—–9——11—-|—5—–7—–9—-|
-5-7———|-5—–7——9——-|-5—–7—–9——|
————-|———————-|——————–|
————-|———————-|——————–|
————-|———————-|——————–|
The second is a pattern based on a diminished scale. It is moveable by an interval of 3 frets all the way up and down the fingerboard.

————-4-5-7-8-|—–8—–11——-14-|——5——8-|
———6-7———|—6—–9——-12—-|—6——-9—|
-4-5-7-8————-|-5—–8——11——-|-7——10—–|
———————|———————–|—————|
———————|———————–|—————|
———————|———————–|—————|
I will sometimes try to make things up based on patterns like these.
The diminshed patterns are killer. Notice how the first diminished pattern resembles a maj7 arpeggio and also notice that the second diminished pattern resembles a minor6 arpeggio. Does this mean that simple major and minor arps are also moveable?
These ideas are inspired by a book I bought called “Intervallic Designs for Jazz Guitar : Ultramodern Sounds for Improvising”, by Joe Diorio.