A textured orange background pattern with vertical stripes.
Source V. Hartikainen
Prismatic Abstract Geometric Background 4
Source GDJ
Zero CC tileable grass texture, photographed and made by me. CC0
Source Sojan Janso
Heavily remixed from a drawing in 'Barbara Leybourne; a story of eighty years ago', Sarah Hamer, 1889.
Source Firkin
A seamless background drawn in Paint.net and vectorised with Vector Magic. The starting point was a photograph of drinking straws from Pixabay.
Source Firkin
One more brick pattern. A bit more depth to this one.
Source Benjamin Ward
From a drawing in 'Uit de geschiedenis der Heilige Stede te Amsterdam', Yohannes Sterck, 1898.
Source Firkin
Three shades of gray makes this pattern look like a small carbon fiber surface. Great readability even for small fonts.
Source Atle Mo
To get the tile this is formed from select the rectangle in Inkscape and use shift+alt+i.
Source Firkin
Carbon fiber is never out of fashion, so here is one more style for you.
Source Alfred Lee
A lovely light gray pattern with stripes and a dash of noise.
Source V. Hartikainen
A free seamless background texture of "timber wall" (colored in dark brown).
Source V. Hartikainen
Has nothing to do with toast, but it’s nice and subtle.
Source Pippin Lee
A classic dark tile for a bit of vintage darkness.
Source Listvetra
I love the movie Pineapple Express, and I’m also liking this Pineapple right here.
Source Audee Mirza
Seamless pattern formed from a tile that can be had by selecting the rectangle in Inkscape and using shift+alt+i
Source Firkin
From a drawing in 'Art Embroidery', M.S. Lockwood and E. Glaister, 1878.
Source Firkin
To get the tile this is based on, select the rectangle in Inkscape and use shift+alt+i.
Source Firkin
There are quite a few grid patterns, but this one is a super tiny grid with some dust for good measure.
Source Dominik Kiss
From a drawing in 'Art Embroidery', M.S. Lockwood and E. Glaister, 1878.
Source Firkin
Subtle scratches on a light gray background.
Source Andrey Ovcharov
This is lovely, just the right amount of subtle noise, lines and textures.
Source Richard Tabor