Bazzi’s tattoos are still growing, and that’s part of the idea. In his GQ tour, he said he planned to keep adding to them but didn’t want to rush into designs everyone else already had. He waited until an idea felt like his.

The collection now mixes Arabic writing from his family, space imagery, music, symmetry, and a few pieces he chose because he liked how they looked. Not every tattoo needs a big life story; Bazzi’s make room for both personal meaning and a design that simply looks good.

Here’s what he has explained so far, from the first words his dad wrote out for him to an arm piece that took more than half a day.

Three Arabic affirmations came from Bazzi’s dad

Bazzi’s first tattoos are three short affirmations in Arabic. His dad wrote out the words, making the lettering more personal than a translation he picked from a book or an online design. Bazzi is Lebanese, and the script connects the tattoos directly to his family background.

The lines say he is a child of the universe and infinitely creative; that he’ll live to bring understanding and beauty into the world; and that he won’t live in the past or future, but stay present. They’re big ideas in clean, simple lettering, which fits the way Bazzi describes his taste.

His dad didn’t want him getting tattoos, so Bazzi used the first one as a kind of bargain: if his father wrote the words, maybe he’d be more comfortable with the tattoo. Bazzi jokes that after that, it was a lost cause. The story adds a family layer to the Arabic ink: the meaning matters, but so does the person who first put the words on paper.

The affirmations also help explain why Bazzi talks about balance when discussing his tattoos. He likes simple shapes, even spacing, and designs that sit comfortably beside each other. The writing is meaningful without being loud or overworked.

His NASA mission patch is a proper space fan tattoo

Another major piece is a NASA mission patch. Bazzi has described himself as a big space fan, so the design makes sense. While on tour, he visited NASA and stood on the floor in mission control. He compared the experience to being a kid in a candy store.

NASA reportedly even told people in space that Bazzi had turned the patch into a tattoo. He said they were excited, and connected the story to his first album, Cosmic. The tattoo is both a souvenir from a memorable visit and an extension of the space theme he was exploring in his music.

It feels different from the Arabic affirmations. Those are about how he wants to live; the mission patch is about a place, a fascination, and an experience that made a strong impression. The collection works because the pieces don’t all try to say the same thing.

Bazzi has also pointed out smaller arrows and marks that don’t have a deep explanation. He just liked how they looked. That honesty is useful: sometimes a tattoo honours your family or beliefs, and sometimes you see a clean design and think it looks good.

The Vitruvian Man took more than twelve hours

Bazzi’s biggest arm tattoo is based on Leonardo da Vinci’s Vitruvian Man. The full concept came from an artist named Bulloss. Bazzi trusted his eye, let him develop the design, and wanted it as soon as he saw the finished idea.

The figure remains inside the famous circle and square, with extra details around it. Bazzi points out a palm featuring Mercury, Apollo, and Jupiter, along with other elements. He likes that da Vinci was centuries ahead of his time, which fits his interest in ideas that move beyond one period or style.

The work took about 12 to 14 hours. Rather than letting that put him off, Bazzi got excited and asked the artist to start another piece the same day. He had waited for ideas that felt right, but once he found an artist he trusted, he was ready to keep going.

The Vitruvian Man also fits his love of symmetry. Bazzi wants the tattoos to feel balanced and move together at a natural pace, almost like parts of a song. The design has its own structure, giving the arm a centre without needing a huge block of dark shading.

There’s a similar interest in tattoos as a record of creative life in Trevor Jackson’s tattoo collection, though the two artists choose very different images. Jackson leans into characters, portraits, and family symbols; Bazzi returns to proportion, space, and movement.

Music, butterflies and stars sit on his arm

One of Bazzi’s most recognizable tattoos is a flowing music design with butterflies and stars in place of ordinary notes. He got it while doing charity work in Bali, where he knew of an artist whose style suited the idea.

Bazzi doesn’t think music has to be perfectly technical. For him, it’s a way to create and give feeling a place to go. The wavy lines keep the design moving, while the butterflies and stars make it feel less like sheet music and more like a melody drawn out visually.

He has said he may not read every note or draw a realistic face, but he can put passion and intensity into what he makes. The tattoo reflects that: it isn’t meant to look like a textbook diagram, but to feel free and a little dreamy.

Smaller musical marks and script also appear on his arm, easier to see in close-up photos than in a full red-carpet shot. The different views help: one shows how the tattoos sit on his body, another reveals the writing, lines, and symbols.

The sun, moon and yin-yang design is about balance

Bazzi has a design built around the sun, moon and yin-yang. He describes the sun and moon as coming from different worlds and meeting in the middle. The image reflects his belief that life needs both sides: light and darkness, happiness and sadness, the grounded part of him and the creative part.

The Arabic affirmations belong to that same foundation. They represent his roots and the way he tries to live, while the moon points toward music, magic, and imagination. The yin-yang brings those ideas together in one connected design.

This is where the collection’s symmetry becomes clear. Bazzi isn’t just collecting unrelated images and hoping they match. He likes the way one side can answer the other, and pays attention to how smaller pieces move around his arm.

During the GQ tour, he was still considering adding much more ink, possibly toward his neck. He wasn’t ready to get a face tattoo. Those were future ideas, not finished work, but they show how he saw his arm as a starting point.

Some tattoos connect closely to his family or beliefs. Others recall NASA, music, or the balance he wants in life. And then there are the arrows he simply liked. That mix keeps the collection from feeling stiff: it’s thoughtful without pretending every small mark needs a grand explanation.

The overall shape is easy to see. The Arabic lines provide a family and values base, the NASA patch captures his curiosity, and the Vitruvian Man gives the arm a centre grounded in art and science. The music design loosens the composition with movement and imagination. Even the marks he calls meaningless fit his taste for clean, simple forms. The pieces feel connected without all looking like copies of one idea.

Watch Bazzi talk through the ideas, artists, and stories behind his tattoos: