Ben “Killa B” Saunders is the MMA fighter, not the Dutch singer and tattoo artist who shares his name. His largest tattoo is a dragon that crosses his left shoulder and upper arm, with its face on his chest; samurai imagery and a Gracie Jiu-Jitsu logo sit on his right arm.

A February 2013 Inked profile gives the clearest account of the martial arts behind some of the imagery. The photos help show where the tattoos sit, but the interview is what connects them to Saunders’ own training and interests.

The dragon across his left shoulder and upper arm

The dragon’s body bends over Saunders’ left shoulder and coils down the upper arm. Rows of scales and darker shading give it texture, while the lighter gaps keep the forms from collapsing into one dark patch. In a fight photo with his arm raised, the design wraps out of sight and comes back into view as he turns.

The long, coiling creature has a Japanese-inspired look, but the available account doesn’t name the tattooer or identify a particular school. It’s more accurate to describe the style visible in the photos than to claim a specific traditional source.

The dragon’s face on his chest

A front-facing weigh-in photo shows the dragon’s head on the left side of Saunders’ chest, connected to the shoulder piece. Its open mouth, pointed features and whisker-like lines give the face a restless look. The head becomes the focal point when he faces the camera, while the body leads the eye toward his arm.

In the Inked profile, Saunders linked the dragon and samurai imagery to warrior principles he wanted to live by. That supports a connection to martial arts, but it doesn’t tell us what each horn, scale or curl means to him.

The samurai imagery on his right forearm

On Saunders’ right forearm, a dark, helmeted figure runs lengthwise along the arm. The layered armor fits the samurai imagery described in the Inked interview, and it gives the narrower space a different silhouette from the broad dragon on the other side.

The photo catches enough of the inner forearm to show the armored figure, though gloves and movement hide parts of it. The reporting doesn’t identify a particular historical samurai or armor reference, so the design is best described as samurai imagery rather than a portrait of a named warrior.

At the UFC 245 weigh-in

The weigh-in photo shows Saunders facing Matt Brown before UFC 245 in December 2019. It provides context for the fighter, but it isn’t evidence of another tattoo. UFC’s 2014 profile traced his career to season six of The Ultimate Fighter and his first UFC run in 2007; it also noted his striking, including the knees he used against Marcus Davis.

Saunders told Inked that, early in his MMA career, he spent his first fight purse on a Gracie Jiu-Jitsu “G” tattoo while training with Gracie Barra. He later left the gym on friendly terms and described the logo as a reminder of his beginnings and the local MMA scene in Orlando. The faceoff photo doesn’t show the logo clearly, so its story comes from his account.

His jiu-jitsu game

This ground-fighting photo was taken during the later Brown fight, not Saunders’ bout with Chris Heatherly. In August 2014, Saunders finished Heatherly with an omoplata in the opening round. UFC’s event report called it the first finish by that technique in the promotion’s history; the image here shows a different night.

The photo still shows how a grappling position changes the view of a tattoo: shoulders turn, arms overlap and skin folds. That helps explain why a standing portrait and a fight still can look so different without the ink changing.

What the fight photographs leave out

The standing exchange in the final photo is also contextual, not a close-up of another design. Saunders is turned away, and the chest-and-shoulder dragon is mostly hidden. Fight lighting and movement can obscure gray shading, so a single frame can’t provide a full inventory. The available reporting also gives no reliable artist credit or complete timeline.

For a different take on large-scale athlete tattoos, see Alessio Sakara’s tattoos. Sakara’s Roman-themed work uses different imagery. The comparison is useful for seeing how subject and placement create distinct looks; it doesn’t tell us anything further about Saunders’ pieces.

In a fight photograph, Peterson’s Superman emblem across his chest tends to catch the eye first. Orange flames frame it, while the colored sleeve on his left arm and red-and-gray design on his upper back fill out the picture.

MMA fans know Peterson as “Ocho.” He fought in Legacy, Bellator and the UFC. Combat Press called out his chest tattoo in a 2016 preview, years before his last UFC appearance. Short hair, a beard and that broad shield became part of his familiar look in the cage.

The photos show the tattoos more clearly than their backstory. A 2022 Cageside Press interview includes Peterson talking about them, but it doesn’t confirm an artist or session dates. The images let us focus on the designs without filling in what hasn’t been established.

The Superman tattoo across his chest

Peterson’s chest piece follows the familiar Superman shield, with the S inside and its point aimed toward the middle of his torso. The top spreads across his chest. Gray shading gives the edges a metallic look, and the red interior isn’t the flat red-and-yellow used in the best-known comic-book version.

Orange flames spread from the shield toward both shoulders, with dark, feather-like forms behind them. Their uneven curves set off the emblem’s sharp edges and carry the design across the chest, leaving the red S as its clear center.

In the TUF 27 Finale photo, Peterson faces Matt Bessette with his arms raised. The S remains readable even as some of the shoulder detail turns away from the camera.

The emblem is clearly Superman, but the photos don’t tell us why Peterson chose it. Without a direct explanation from him, a particular film, family memory or childhood influence would be guesswork.

The shield and crossed blades on his upper back

His upper back has a second large piece: a red-and-gray angular shield whose lower point follows his spine. In the faceoff photo, long blade-like forms extend across both shoulders.

Compared with the flames on his chest, the back piece has a tighter outline. Red traces its edges and interior, and gray shading gives the shapes a beveled look. Skin remains open below the neck and lower on his back; close up, the narrower outlines show the blades extending past the shield.

The chest and back pieces share pointed centers, dark borders and red accents, so they feel related when Peterson turns. They keep their own shapes, though: flames spread the chest design outward, while the crossed blades widen the back piece.

The Superman piece nearby can make the back shield look like another character emblem, but the photo doesn’t establish that. What we can identify is its red-and-gray shape and the crossed blades; a personal meaning isn’t documented here.

The colored sleeve on his left arm

Color covers Peterson’s left arm from shoulder toward wrist. On the upper arm, an open-mouthed creature’s face sits beneath sweeping green shapes, with orange and darker shading around it. The sleeve has a looser, busier feel than the chest emblem.

In the ground-fighting photo, his left arm turns toward the camera. The face fills much of the upper arm, while curved bands and smaller forms continue below; orange runs between darker sections and ties the colors together.

Large images share the sleeve with smaller forms tucked behind them. The dark outlines hold the colors together, and the shifts in scale keep the arm from reading like a row of repeated panels.

Older fight photos also show Matt Bessette, who has extensive arm tattoos of his own. In the chest photo, the bald fighter on the right is Bessette; Peterson is on the left with the Superman emblem. Keep the two straight when identifying the ink.

The left sleeve and chest work meet at the shoulder, so the colors flow together in the finished photos. That doesn’t show whether they were planned or tattooed at the same time, and it doesn’t identify the artist.

Peterson at UFC 263

Peterson faces Chase Hooper at UFC 263 in June 2021, on the right side of this photo. The Bessette images are from the TUF 27 Finale in July 2018.

Peterson won both fights by decision. Bessette gave him his first UFC victory, a split decision; Hooper followed three years later. The Bessette bout moved between standing exchanges, the clinch and ground control.

In the Hooper photo, the chest shield bends with Peterson’s torso and the colored shoulder turns toward the camera as he punches. It’s a rougher view than a faceoff, but it shows how the tattoos sit on him in motion.

The Julian Erosa fight

The next photo is from Peterson’s February 2022 bout with Julian Erosa. Peterson is on the left. They went three rounds, with Erosa winning a split decision. UFC later described it as a Fight of the Night performance.

Arena light and movement make this a harder frame to read than the faceoff. The chest outline still registers, though the smaller color details are easier to see in the earlier photos.

Before the bout, Peterson spoke with Cageside Press about the matchup, his nickname and his tattoos. The interview adds his own perspective alongside what the photos show.

Mexico City and the years after competing

The Mexico City photo shows Peterson on the left against Martin Bravo in September 2019. Peterson won with a second-round spinning backfist. It’s a different bout from Erosa and the decision wins shown above.

Peterson retired from MMA competition after facing Lucas Alexander in March 2023. He stayed close to the sport as a coach; Fortis MMA lists him on its coaching staff.

For contrast, Alessio Sakara’s Roman-themed tattoos take a different approach. Peterson’s collection centers on a large superhero shield and a colorful sleeve.

Peterson’s interview below gives his own account of the tattoos.

Most of Lyman Good’s visible tattoos sit on his left side: a framed chest skull, a dense sleeve, a broad back piece and an armored figure across his flank. His right side is less crowded. Fight photos show how the designs bend around his body, especially during UFC 244 against Chance Rencountre.

The skull tattoo on his left chest

A skull fills much of Good’s left pectoral. In the UFC 244 weigh-in photo, dark eye sockets and a pale forehead sit inside a shield-like frame. The border keeps the image distinct from the heavier work near his shoulder.

Cursive lettering sits above the skull near his collarbone. The photos aren’t clear enough to read it reliably, and Good hasn’t publicly explained the skull’s meaning.

The bird across his back

A long-feathered bird spreads across Good’s upper and middle back. Its dark outline stays visible as he leans into a clinch. The feathered edges are uneven, and darker curls break up the lower outline; the lighter skin around it makes the full shape easier to pick out.

The second view shows how the feathered design bends with his back. Some gaps open up while others disappear around the curve. The photos show a large black-and-gray birdlike figure, but don’t establish its species or meaning.

The chest skull is tightly framed; the back piece spans a much wider area. Both use dark shading, at different scales.

The black-and-gray sleeve on his left arm

Good’s left sleeve combines a winged, birdlike image around the shoulder with smaller faces, curved forms and shaded details farther down the arm. The upper section has more open space; lower down, the lines overlap and the design looks denser. A glove or opponent can hide individual images in a fight photo, but the sleeve’s dark outline remains easy to recognize.

From the side, the wing curves around his shoulder. His turned forearm hides some of the smaller images.

For another collection built around large figures, see Alessio Sakara’s tattoos. The useful comparison is how the designs occupy the body; their meanings may be entirely different.

The armored figure along his left side

A helmeted, armored figure runs along Good’s left flank beneath his raised arm. Its layered headgear looks samurai-like, with a large feathered shape and dark curls beside it. The design turns toward his back, and his arm often covers the upper section; in the exchange with Rencountre, the raised elbow leaves more of the piece visible.

In a Consequence of Habit conversation, Good connected the side inscription with wanting peace while being prepared for war. He explained the words, not the identity of the artist or the meaning of every figure around them.

At the UFC 244 weigh-in

Good stands on the left opposite the taller Rencountre at the 2019 UFC 244 faceoff. He had won a Bellator championship in 2009 and spent years competing before joining the UFC. Under the bright stage lights, the still pose makes their difference in height and stance easy to see.

Fighting in New York

UFC 244 brought Good to a hometown crowd. In a pre-fight MMAWeekly interview, he spoke about having New York behind him. A UFC profile ahead of his 2015 debut said he taught at Tiger Schulmann’s while preparing to compete; it also reported that his mother introduced him to martial arts when he was eleven.

Those details give context to the fight-week photos, but they don’t tell us what any particular tattoo means.

After the final exchange

Good beat Rencountre by knockout at UFC 244. The celebration photo shows him with a fist raised as the referee tends to his opponent. Afterward, Good said teammate Julio Arce’s earlier loss had motivated him, and that he wanted a bout against higher-ranked opposition.

The interview below was filmed during that New York fight week.

Eddie Wineland’s tattoos cover both arms and much of his back. A helmeted warrior fills a large scene across his back, the sleeves use different colors and imagery, and script runs along his ribs. The fight-week photos from UFC 238 show the pieces from several angles.

Wineland has said his father’s arm tattoo first sparked his interest in ink. His own comments mix stories about meaningful pieces with a sense of humor.

The warrior tattoo covering his back

A helmeted warrior anchors the back piece. The figure holds a long blade, with one arm reaching outward. Above it, a round sun sits between Wineland’s shoulders, surrounded by gray clouds and bright yellow rays.

This angle shows how far the scene spreads: feathered shapes, additional figures and shading fill the space around the warrior, almost to the waistband. Yellow appears in the rays and parts of the armor, tying those areas together against the gray.

The third photo catches the sun and helmet clearly as Wineland extends his arm. The skin shifts across his shoulder blades, but the main shapes stay legible. FanSided MMA described the scene as a warrior beneath clouds and sunlight; the pictures don’t establish a more specific story or symbolism.

The colorful sleeve on his left arm

Wineland’s left sleeve is packed with color. Red and black cluster around a face-like shoulder motif, while blue-green curves and rounded shapes continue down the arm. Orange-red details add warmer notes farther along.

With his elbow bent, the curves fold around the upper arm and the face-like image comes forward. Lower down, shapes overlap, making individual subjects harder to identify from these action shots.

The sleeve runs toward his wrist, where a fight glove hides its edge. Small areas of lighter skin and shading keep the color from reading as one solid block. The angles show different details, but it’s the same continuous design.

The flower on his right shoulder

A layered blue-gray flower sits over Wineland’s right shoulder. Its petals open in rings around the shoulder cap, making the design easy to follow in the faceoff photo. Shaded forms and warmer colors continue down the arm; an outlined star is visible on his hand above the event wristband.

The sleeves aren’t mirror images. The right shoulder centers on the flower, while the left has the darker face-like motif. His upper chest is comparatively open in these 2019 photos, leaving a clear space between the two sides.

The lettering along his ribs

Black script follows Wineland’s ribs beneath his arm, below the back scene. The lettering is finer than the shaded figures around it, and the curve of his torso makes a full reading difficult.

With his arm raised, another stretch of the writing comes into view, along with the open skin around it. The partial views don’t support a reliable transcription, so the wording is best left as it appears in the photos.

Compare the placement with Alessio Sakara’s tattoos: both collections use broad areas of the body, but the designs differ.

An early influence

In a Fightland interview later quoted by FanSided MMA, Wineland said his father got him interested in tattoos. His father had a panther on his arm, though he wasn’t heavily tattooed himself.

Wineland recalled being nervous about his father’s reaction to his first sleeve. He has also said that not every tattoo has to carry a serious message; some were meant to be funny.

The fight photo here catches Wineland on the right, recognizable by his mustache and red glove tape. Grigory Popov is on the left with blue tape. It shows the collection in the bout, rather than isolating one tattoo.

The Chicago fight behind these photos

UFC 238 took place at Chicago’s United Center on June 8, 2019. Wineland stopped Popov with strikes in the second round. He had become the first WEC bantamweight champion in 2006, beating Antonio Banuelos for the title.

Away from competition, Wineland worked as a firefighter. A 2015 UFC profile described the job while covering his return after a long layoff. It gives context to his life outside the cage, but doesn’t explain the tattoos.

The photos also make the contrast with Popov’s largely untattooed upper body easy to see. The pre-fight interview below was filmed during that Chicago week.

Francisco Rivera’s tattoos use different styles across his body. Two stars, a crown and wings sit across his chest; his left sleeve is densely shaded, while bold lettering curls along his right side. A large, dark scene covers much of his back.

Rivera, known as Cisco, wore the collection in his UFC 201 fight with Erik Perez in Atlanta. The 2016 photos show Rivera in turquoise-and-black shorts with red glove tape; Perez wears black-and-white shorts and blue tape. The changing angles help show how the tattoos wrap around Rivera rather than lying flat in a posed portrait.

The stars, crown and wings on his chest

Two shaded five-point stars sit high on Rivera’s chest, with a crown between them. The stars have dark and light sections that give them a nautical look. Below, feathered wings stretch across his pectorals but stop short of forming one continuous band.

The feather lines spread outward, with darker shading along the lower edges. The stars and crown are more compact than the wings, so the chest has clear focal points and open skin below. The photographs show the placement, but don’t establish who the crown represents or why Rivera chose these symbols.

The large back tattoo

A tall central figure anchors Rivera’s back piece, surrounded by broad, angular dark shapes and softer shading. The design reaches across his shoulder blades and down toward his waistband. Draped forms run through the middle; some of the surrounding marks look like lettering, but the photos don’t show a reliable full reading.

Smaller winged or birdlike shapes sit near the shoulders. Lower down, the background grows denser and turns around his side. In this shot, Rivera extends his left arm, opening up the back while pulling one shoulder away from a flat angle.

If you like large figurative designs, compare it with Alessio Sakara’s tattoos. The scale gives the artist room for a central image and details around it.

The shaded sleeve on his left arm

Rivera’s left sleeve is densely worked, with dark outlines, curved forms and gray shading running around the shoulder and down the arm. Some areas look scaled or dragonlike; other curls fill the gaps between larger shapes.

As he leans and reaches across the frame, a different part of the sleeve faces the camera. Some areas are nearly black, while others leave lighter skin or pale gray between the lines. Those changes keep the whole arm from reading as one solid patch.

The bold shapes on his right arm

The right upper arm has a more open design: a bold black motif runs down from the shoulder in long, tapering curves. It has a tribal-style look and doesn’t use the dense shading seen on the left.

A separate, character-like mark sits farther around the arm. Its strokes are thicker and more compact. The forearm has smaller shaded details; when Rivera raises his guard, the glove hides the wrist and the bent elbow bunches the designs together. Extend the arm, and they spread apart.

The script along his right ribs

Large ornamental script fills part of Rivera’s right side, between his arm and waistband. Heavy strokes sit among long loops and flourishes. The lettering stands out against the mostly open skin and uses a different texture from the dark back piece.

The second angle shows some letters turning away while others face the camera. The flourishes are easier to make out than a full word, so the wording can’t be transcribed confidently. The side placement also explains why a straight-on portrait catches only an edge of it.

The cross below his ear

A small black cross sits on the right side of Rivera’s neck, just below his ear. Its two solid strokes are simple beside the larger designs on his shoulders and back. The photos establish where it is, but don’t tell us what it means to him.

The fighter in the photographs

Rivera’s athletic career began with football at Buena Park High School and Orange Coast College, according to a 2015 UFC profile. An ankle injury ended that chapter before he became a professional mixed martial artist.

UFC 201 took place on July 30, 2016. Perez won their bantamweight bout by unanimous decision. Rivera’s red glove tape and Perez’s blue mark them in the exchange photos, which show several tattoos at angles a studio portrait would miss.

Rivera also spoke about tattoos and training in a 2013 MMAinterviews conversation. The interview below gives more of his perspective than the fight photos can: they show the artwork’s placement, not the reasons behind it.

Josh Sargent has tattoos across his arms and legs. In interviews, he has talked about family dates, his mother’s eye, spiritual work on his leg and older pieces he chose because he liked how they looked. The match photos show the arm coverage, though they don’t identify every design clearly.

Josh Sargent’s tattooed arms

The heaviest work is on Sargent’s right arm. Black-and-gray shading runs from the upper arm toward the forearm, where a large portrait-like face is visible among darker patterns. His opposite forearm is tattooed too, but the coverage is lighter.

The photos don’t confirm that the shaded face is the lion Sargent has mentioned. They show a detailed image; his interview confirms the lion is part of his collection, but doesn’t match it to a specific picture.

Josh Sargent’s tattoos: The message behind the collection

The tattoo Sargent has explained most clearly is on his leg: “Life begins at the end of your comfort zone.” He told ESPN that the line came from a conversation with his father before he moved to Germany.

That year brought a Bundesliga debut and a first goal with his first touch, but also a frustrating omission from U.S. squads and an injury that interrupted his progress. Sargent connected the phrase to leaving home and accepting the uncertainty of a new country and football career.

Josh Sargent’s tattoos in match photos

In match photos, the sleeve can look like one dark panel. The shirt covers its upper edge, and movement blurs smaller details. You can see how far the ink runs and how it wraps around his arm; the pictures aren’t sharp enough to name every image.

That distinction matters when trying to match Sargent’s interviews to the photographs. His comments confirm a lion, but the visible shapes alone don’t show which one he meant.

Josh Sargent’s family tattoos

Sargent has mentioned tattoos of his parents’ birthdays and his mother’s eye. The dates are direct references; the eye is a more personal image, though he hasn’t described every detail in the photos.

He has also said some earlier tattoos were spontaneous and that he might make different choices now. He didn’t attach a deep meaning to every piece. The collection includes both family references and designs he simply liked at the time.

Josh Sargent’s newer spiritual tattoos

In a Yahoo Sports interview, Sargent described newer tattoos on his leg as spiritual and said they helped him mentally. He also spoke about working with a mental coach and keeping the routines expected of a professional player. The tattoos are one part of how he stays grounded, not a substitute for that work.

Why the collection suits his football life

Sargent left the United States as a teenager, joined Werder Bremen, adapted to the Bundesliga, then moved to Norwich City while continuing to compete for the national team. Club changes, injuries and selection decisions meant repeated starts and setbacks.

That background helps explain why the comfort-zone quote mattered to him. It marked a move away from home; the family tattoos point back toward it. His account connects the two without suggesting that every tattoo follows the same theme.

Practical lessons from the collection

There are two useful design ideas here. A large shaded image can anchor an arm while smaller patterns connect the sections. A long quote needs enough room and spacing to stay readable, which is one reason leg placement can work well. Family references can be small; they don’t need an elaborate scene to feel personal.

Sargent’s collection also shows that newer work doesn’t have to match every older choice. A consistent look can develop over time, even when some early tattoos were spontaneous.

The honest version of the collection

Sargent has explained several parts of his collection, including the leg quote, family references and newer spiritual work. He has also said some older designs were chosen simply because he liked them. The photos show the arm shading, but leave some individual images uncertain. Together, the interviews and pictures give a more complete account than guessing at a single theme.

The embedded interview below covers his football journey and the period when he was establishing himself in Germany.

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