The Minnesota Vikings’ Purple Ink Extra feature is devoted to Laquon Treadwell’s tattoos. Its 13 photographs show the wide receiver’s chest, shoulders, arms and torso from several angles. The ink reads as a collection of separate placements: broad chest work, outlined symbols and dense lettering.

The Vikings describe the designs broadly as drawing on family, faith, football memories and personal interests, including pickleball paddles and Skechers shoes associated with Treadwell’s career. The gallery doesn’t identify every mark, so the descriptions here stick to the visible details and the themes the team actually names.

The full-body gallery establishes the scale of Treadwell’s ink

The opening studio photo shows Treadwell from the waist up, shirtless against a dark background. Both arms and his chest are tattooed. His raised arms expose the outer-arm pieces, while the chest holds a broad central design. The view gives a sense of the collection’s reach; later close-ups show more detail.

The first close view shows the right-arm lettering

The next photo focuses on Treadwell’s right side. An outlined symbol sits high on the arm, with bands of lettering below it. The framing also catches part of his chest and hand. The image makes the placement clear, but the gallery doesn’t explain the wording or meaning of each mark.

The color crop clarifies the upper-arm linework

A color crop brings the outlined upper-arm symbol and the lettering beneath it into clearer view. Open skin separates the darker sections, showing how the design follows the arm’s contours. The shift in color changes the contrast, not the tattoo itself.

The chest composition is the gallery’s most prominent field of ink

In the fourth photo, Treadwell looks down and the chest work fills the frame. Dark outlines and gray shading spread across the pectoral area, with lighter gaps between connected shapes. The gallery doesn’t name each motif. The angled pose shows how the design follows the curve of his torso.

A downward portrait keeps both arm tattoos in view

A wider portrait uses a similar downward gaze but shows both arms around the chest piece. The two arms carry different groups of shapes and lettering rather than mirror images. From this angle, the work runs from the shoulders and upper arms toward the center of the chest.

The front-facing studio frame shows how the tattoos sit together

In the front-facing studio view described in the gallery, Treadwell faces the camera with the chest and upper arms exposed. The straight-on angle makes the different placements easier to compare: a broad chest composition between denser vertical pieces on the arms.

The color portrait separates linework from the jersey context

The color front portrait brings out the edges between chest shading, arm lettering and open skin. The upper-arm symbols remain distinct, while shadows make the chest look more continuous. It is another view of the same collection, not a different design.

The side pose reveals the continuous arm coverage

From the side, a large piece wraps around the shoulder and continues down the upper arm. The chest work stays visible at the edge of the frame, showing how it meets the arm tattoos. The purple shorts and dark studio background make the ink stand out without changing its appearance.

The alternate angle brings the shoulder and chest into focus

A turn toward the camera brings the shoulder forward. Dark passages and lighter lines run across the upper arm and meet the chest piece. The photo shows the transition between those areas without suggesting that they were done as one session.

The side-body frame exposes the vertical lettering along his torso

Another side view shows a tall lettering element running down Treadwell’s torso, following the length of his body. The arm remains heavily tattooed as the chest piece turns out of view. The gallery doesn’t provide a reading of the lettering, but its vertical placement is clear.

The second color side frame shows the torso lettering

The color side portrait keeps the torso lettering in view and brings out the contrast between it and the darker shoulder and arm work. It shows the same placements from a different tonal angle; the gallery doesn’t identify new designs here.

The standing portrait shows the tattoos as part of his public image

The full-length football portrait puts the tattoos in context with Treadwell’s stance, clothing and build. The chest and arms remain visible, but the frame also presents him as a player rather than isolating the ink in a close-up. The Vikings provide the broader themes; the photo doesn’t label any particular symbol.

The final gallery photograph returns to the shoulder and upper arm

The closing close-up turns back to the shoulder and upper arm. Its lighting shows darker shapes beside unmarked skin, with part of the chest visible at the frame’s edge. It rounds out the sequence of front, side and closer views.

The source’s broader account of the collection

The Vikings’ Purple Ink feature names family, faith, football memories and personal interests as recurring themes. Its editorial material also mentions imagery connected with pickleball paddles and Skechers shoes. The photographs show the chest, arms, shoulders and torso, but they don’t assign a specific story to each mark.

The gallery as a visual record

Across the 13-photo Vikings feature, full views establish the coverage, close-ups show arm lettering and symbols, and side portraits reveal how the ink wraps around Treadwell’s body. The color frames add contrast to the same designs. The collection’s specific meanings remain at the level the team describes: family, faith, football and personal interests.

Closing summary of the documented collection

The gallery documents tattoos across Treadwell’s chest, shoulders, arms and torso, mixing broad shaded areas, outlined symbols and lettering. Its photographs show their scale and placement from more than one angle; the Vikings’ accompanying text supplies the broader themes without explaining every individual design.

Sources for the documented tattoos

The primary source is the Minnesota Vikings’ Purple Ink Extra gallery, which features 13 photographs of Treadwell’s tattoos. The team’s player and video pages provide official career context. The video below is another Vikings feature; the photo gallery remains the source for the tattoo images.

Official Vikings video: Laquon Treadwell highlights.

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Itsuki Hirata has about 20 tattoos, according to a Japanese report. ENCOUNT describes Japanese-style work on her left arm and Western-style ink on her right. Photos show both sides, though the details change with the setting: gloves, wrist tape, clothing and camera distance can hide part of the work.

Official ONE Championship images and Japanese combat-sports reports help establish the tattoos’ placement and broad style. Some small lettering is not clear enough to transcribe, and no source gives a complete explanation of every symbol.

Itsuki Hirata’s left-arm tattoo work

ENCOUNT identifies the left arm as the Japanese-style side of Hirata’s collection. In official photographs, dark linework and shaded shapes run along the outer forearm and toward the upper arm. The pieces sit close together, following the arm’s contours rather than gathering around one isolated mark.

Fight and portrait photos show the work from different angles. When Hirata turns her arm toward the camera, the grouped design is easier to see; movement and gloves can obscure part of it. The images support a description of layered, connected ink, but they do not name every shape.

The small marks and lettering visible in close photographs

Close views show small symbols near the upper arm and forearm, along with thin lettering on the inner arm. The line of script follows the length of the arm. Its wording is not consistently legible, so the photographs do not support a confident transcription.

One event image shows an outlined symbol above a longer line of script, with a darker shape closer to the elbow. These smaller pieces sit alongside the larger shaded work. A wide arena photo may show the circular tattoo but miss the lettering; a closer portrait can reveal the fine lines instead.

Western-style work on the right arm

On the right arm, ENCOUNT reports a Western-style influence. Official fight photos show a dark circular design on the upper arm, with a concentrated centre and heavier shading around the edge. It stands apart from the surrounding skin rather than forming a full sleeve.

From a distance, the piece reads as a single dark emblem. Closer images reveal changes in tone and internal shapes, but not enough to identify every figure. Other photos show smaller marks lower on the arm, including an outlined symbol near the forearm and a darker design closer to the elbow. The right side combines those separate pieces with the larger round tattoo.

How the arm tattoos appear in fight photography

ONE Championship portraits and face-off photos often leave Hirata’s arms exposed, making it easier to compare their layouts. During a bout, gloves, wrist tape and movement cover or blur parts of the tattoos. Coloured arena light can flatten the shading, while a close training portrait makes smaller script easier to see.

The contrast between the sides still comes through: the left arm looks more connected and patterned, while the upper-right-arm circle reads as a separate focal design. The tattoos appear in athletic photographs alongside the action and equipment; those images document placement and visibility, not personal meanings.

The tattoo timeline and what is reliably documented

ENCOUNT describes the left arm as Japanese style and the right as Western style. A separate eFight report focuses on a newer tattoo visible on Hirata’s arm. Neither report gives a dated list of every piece, and the available photos do not establish when each design was added.

The record has grown as new images appear. A recent event shot may show a mark that earlier photos concealed, while another image may make an older design easier to see. That is not enough to date every tattoo or infer its meaning. Where Hirata or a named source has not explained a symbol, its significance remains unconfirmed.

The visual record in context

The collection appears in official athlete portraits, fight-night photography, fashion coverage and Japanese reports. A posed portrait offers a clear view of the arms; a cage-side shot shows the ink under competition conditions; a social photo may reveal a newer addition with little context about when it was taken.

Across those images, the left arm carries the denser Japanese-style work described by ENCOUNT. The right is centred on a darker circular design, with smaller marks and lettering around both arms. The fine details become visible only in close views.

A careful reading of the photographs

The photos place Hirata’s tattoos in the same frame as her training and competition. Athletic clothing, gloves and movement affect which parts can be seen, but the arm placement remains consistent across the images.

The documented picture is straightforward: Hirata has around 20 tattoos, with Japanese-style work reported on the left arm, Western-style ink on the right, and smaller symbols and script visible in close photographs. The sources describe the collection’s appearance; they do not provide a meaning for every piece.

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Coby White’s tattoos began with a memorial on his right upper arm and later grew into black-and-grey coverage across both arms. He has explained the first piece himself; photos and later reports show how the surrounding sleeve developed, though not every design has a public meaning.

Coby White’s “FMF” tattoo keeps his father at the center

White’s first tattoo is the script “FMF,” short for “For My Father,” on the inside of his right biceps. In a Players’ Tribune account written before the 2019 NBA Draft, he connected the phrase to his father, Donald White, who died of liver cancer in 2017. He had also used “For My Father” at the end of social-media posts.

The lettering is compact and flowing. Early Bulls portraits show it high on the inner arm, where it becomes more visible when White lifts or flexes his arm.

White’s account makes the initials a documented memorial rather than a meaning inferred from a photo.

The Roman numerals and dates around the tribute

The Roman numerals sit beneath FMF as a separate line. In early studio photos, both parts form a small, readable tribute on the upper arm.

Later sleeve photos show additional ink around it, but the original lettering and date remain visible. The open space around the first design in early pictures makes its two lines especially clear.

Coby White’s chest and arm lettering

Later photographs show lettering and shaded illustrations across White’s forearms and upper arms. The work is mostly black and grey. Some marks follow the length of the forearm, while FMF remains the easiest text to read on the right arm.

Game photos catch different sections as White raises the ball or follows through on a shot. They show the extent of the coverage, but the available sources don’t identify the meaning of every later design.

How the sleeve grew around the original tribute

Reports place the expansion beyond the FMF tribute around 2020 and name North Carolina tattoo artist Zackell Perry. They describe prayer imagery above the shoulder, including folded hands and a reference to Philippians 4:6–7.

The new work filled in areas around the memorial rather than covering it. Photos show prayer hands and text higher on the arm, with darker shading extending toward the forearm. The two arms aren’t identical: the left appears denser in some portraits, while the right keeps the FMF lettering as a clear focal point.

The imagery visible in Coby White’s later tattoo photographs

In close portraits, parts of the left forearm and area near the elbow appear more densely shaded than the FMF script. The available captions and reports don’t identify every surrounding shape, so those areas can be described by their placement and texture without naming symbols.

The timeline from first tribute to professional coverage

White’s father died in 2017, and by the time White wrote about FMF before the 2019 NBA Draft, the memorial was already part of his story. Later coverage places the sleeve expansion around 2020. Photos show the original tribute still present as the surrounding work grew, but don’t date each addition.

What the photographs show about placement and scale

An early studio portrait isolates the memorial; a Yardbarker game photo and an NBA gallery image show more of the arms during play. A raised arm exposes more of the sleeve, while a tight crop can make the same coverage look compact.

How the visual record develops over time

White’s own writing and the Players’ Tribune account establish the meaning of FMF and its connection to his father. Later reporting adds the artist and prayer imagery; photographs document the broader coverage, without confirming the meaning of every design.

That leaves a clear distinction between the memorial White has explained and the surrounding ink that remains visually documented but partly private.

Sources and documented tattoo details

The Players’ Tribune provides White’s account of his father and the FMF phrase. ESPN also identifies the lettering as “For My Father” and places it on his right biceps. ClutchPoints discusses the early tribute, while later coverage describes the sleeve work and prayer imagery. The photos show the change from the original memorial to fuller arm coverage.

Featured video: Coby White’s Carolina story

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Leah Williamson’s documented tattoos are small and spread across her forearm, hip, waist and hand. Specialist tattoo entries identify three fine-line designs; interviews and reporting confirm an Arsenal mark. The sources describe where the pieces sit, but leave the private meaning of most of them to Williamson.

The evidence behind this profile

TattooFilter documents the words lover and home, a fine-line snake, their placements and artist credit for Conz Thomas at PRJC-T in London. Its entries include dedicated photographs of the designs.

The Arsenal tattoo comes from separate reporting. Williamson confirmed the hand tattoo in an interview with The Standard, and Daily Cannon also reported it after she spoke about extending her Arsenal contract.

Leah Williamson’s inner-forearm lover tattoo

The word lover sits on Williamson’s inner forearm in small, typewriter-style lettering. TattooFilter credits the design to Conz Thomas at PRJC-T in London.

The thin, widely spaced letters give it a plain, label-like look. The sources don’t connect the word to a named person or relationship, so its personal meaning remains open.

The home tattoo on Williamson’s hip

The word home is placed on Williamson’s hip, above the waistband. TattooFilter lists it as a small typewriter-style tattoo by Conz Thomas, matching the simple black lettering of lover.

Williamson has called Arsenal home after spending much of her football life at the club, but the tattoo records don’t say that this hip design refers to Arsenal. Its placement and lettering are documented; its exact meaning isn’t.

The fine-line snake tattoo at the waist

TattooFilter lists a fine-line snake at Williamson’s waist, describing it as line art. Its narrow outline follows a curve, leaving most of the surrounding skin open.

The waist placement is easy to miss in match photos. The dedicated close-up gives a clearer view of both the location and the light line work; the source doesn’t assign the snake a personal meaning.

The Arsenal mark in Williamson’s story

Williamson’s Arsenal tattoo is on her hand. The Standard and Daily Cannon both report the placement, and Williamson has described it as a “fan thing.” She has supported Arsenal since childhood, came through its youth system and has spoken about the club as part of her identity.

Those accounts establish the subject, but don’t reliably describe the exact emblem or lettering. The nearby hand-and-arm image offers context; it isn’t proof of a specific design beyond what Williamson and the reporting confirm.

The second lover tattoo photograph

This second TattooFilter photo shows the same lover tattoo from another angle; it isn’t a separate design. The wider view shows how the small lettering sits on the forearm against the surrounding skin.

The wider home lettering photograph

The wider crop shows the scale of home above the hip and waistband. The word remains legible while the extra space around it makes clear how small the tattoo is.

Why the Arsenal mark carries a different meaning

The Arsenal tattoo has a public explanation from Williamson herself: she has called it a fan mark and connected it to the club’s place in her life. The sources don’t offer the same explanation for lover, home or the snake.

That difference is useful when describing the collection. The designs can be identified by placement and appearance without turning private meanings into claims.

How the marks appear in football photography

Match photos don’t show the whole collection. Jerseys, gloves, movement and distance can hide or blur the hip and waist pieces; a raised hand may show where the Arsenal tattoo sits without resolving its design.

The specialist close-ups make the small lettering and fine line work easier to see. Football photos add match context, while interviews establish the Arsenal connection.

The visual language of Williamson’s collection

The documented pieces use thin, mostly black lines and leave open skin around the designs. The words are easy to read at close range, while the snake’s outline stays light. Together they form a few separate marks rather than a connected sleeve or a large central piece.

What the sources establish, and what they leave private

TattooFilter identifies lover on the inner forearm, home on the hip and the snake at the waist, and credits Conz Thomas and PRJC-T for the specialist entries. The Standard and Daily Cannon report the Arsenal tattoo on Williamson’s hand and its connection to the club.

These sources don’t give a complete count of her tattoos, dates for every session or private meanings for the first three designs. They do support a clear description of the pieces shown here without filling those gaps with guesses.

Leah Williamson’s collection in one view

The tattoos are small, but their locations give them different levels of visibility: the forearm word is easy to photograph, the hip and waist pieces are more private, and the Arsenal mark has the clearest public context. Photos document the designs; Williamson’s comments explain the club connection.

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Anicka Newell’s tattoos often appear in photographs of her pole-vaulting career. She has described them as part of her athletic journey and the Olympic dreams she has pursued. The public images show where the designs sit, but don’t explain every motif.

The right arm is the collection’s main visual anchor

A close Reuters photo published by The Japan Times fills the frame with Newell’s right arm. The sleeve is dense, with large black outlines, shaded figures and lighter gaps between the darker areas. The upper work narrows toward the elbow, then gives way to a busier mix of detail on the lower arm.

The available reporting doesn’t name every figure. It does show several designs connected across the arm rather than one uninterrupted geometric band. A wider training photo shows the sleeve beside Newell’s Canadian uniform, where it remains visible without being the focus of the portrait.

The sleeve combines large figures with fine line detail

In the wider portrait, the sleeve’s larger shapes sit above more fragmented linework and smaller marks. Shading and open skin keep the arm from reading as a solid block. During a vault, the designs bend with her shoulder, elbow and wrist; the source photos don’t confirm a separate meaning for each figure or ornamental detail.

The mermaid tattoo runs down Newell’s right side

Canadian Press has described a large mermaid tattoo running down Newell’s right side. A Wikimedia Commons vaulting photo shows the long figure along her torso and hip as she turns through the jump. It is larger than a small emblem and follows the line of her body.

The available coverage identifies the tattoo and its placement but doesn’t give a confirmed explanation for its meaning. The image is easiest to see when her training top or competition uniform leaves the side uncovered.

The Olympic rings and maple leaf tattoo mark the hip

An Albuquerque Journal photograph shows five Olympic rings with a maple leaf above them on Newell’s hip. The colored rings are smaller than the sleeve and mermaid, but easy to identify; the maple leaf marks the design’s Canadian connection.

Newell competed at Rio 2016 and Tokyo 2020 before qualifying for Paris 2024.

Small torso and hand marks sit beside the larger pieces

The Albuquerque Journal’s upright competition photo shows fine-line marks near Newell’s torso and hand. A small script-like tattoo sits near the waist above the hip design, but the image is too small to read and the reporting doesn’t give a confirmed transcription.

The hand markings are narrow lines and small symbols rather than a full covering. Their visibility changes with her grip on the pole and the angle of the photograph.

How the photographs change with motion

Competition images show the tattoos in different positions as Newell rotates through a vault or stands after a jump. Team Canada’s red and white uniform frames the dark sleeve; training clothes can leave more of the torso and hip visible. A single image rarely shows all of the work clearly.

These are sports photographs rather than posed tattoo portraits. They help establish how the designs sit on a moving body, while the closer images make line work and placement easier to see.

A personal timeline in public view

In her Inked Originals profile, Newell wrote that her tattoos became a major part of her life, athletic journey and pursuit of Olympic dreams. That is the clearest statement of what the collection means to her; the profile doesn’t assign a separate explanation to every design.

Athletics Canada records Newell’s move from gymnastics to pole vault after a back injury, and World Athletics confirms her event and athlete profile. Those sources help place the tattoos in her sporting career, but don’t explain the imagery beyond Newell’s own account.

What the available photographs document clearly

The reporting and competition photos identify selected designs, but the sources don’t provide a complete tattoo inventory. They are strongest on placement and broad shape, not on the meaning of every mark.

Some arm shapes overlap, and the small script is not legible enough to transcribe. Without a direct explanation from Newell, those details should remain descriptions of what the photographs show rather than guessed symbols.

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Cora Jade’s tattoos include a flower and skull on an upper arm, geometric blackwork on the forearms, lettering across her chest, and smaller marks on her hands and legs. Wrestling photos show different parts of the collection depending on pose and gear; the clearest designs are easier to identify than the smaller symbols.

Cora Jade’s floral and skull work across the upper arm

A large flower, leaves and a dark skull-like detail fill the upper arm from shoulder toward elbow. The petals have open space between their black-and-grey outlines, while the smaller skull element creates a darker point within the botanical design.

A straight-on portrait shows the flower clearly; wrestling photos place it alongside the chest lettering and other arm work. Hair, clothing and a championship belt can change what is visible, but the main flower-and-skull composition remains easy to recognise.

The geometric forearm tattoos and layered blackwork

The forearms carry denser geometric and ornamental work. A side portrait shows circles, pointed panels and repeated marks, including a rounded, petal-like form near the wrist. The designs sit close together, with dark shading broken up by thinner lines and areas of open skin.

The opposite arm is also tattooed, though the photos don’t make every detail legible. The forearm geometry contrasts with the flower’s rounded petals and leaves; the two areas share a mostly black-and-grey palette without forming a single mirrored design.

The chest lettering: “STARVE THE EGO FEED THE SOUL”

The phrase “STARVE THE EGO FEED THE SOUL” runs across Jade’s upper chest in two compact lines below the collarbones. The narrow capital letters keep the words readable without taking up the space of a large banner. Some photos show a smaller mark higher near her neck, but the chest phrase is the more consistently legible text.

Unlike the arms’ floral and geometric shapes, this tattoo reads as a statement. It’s visible above many of her ring tops and can be seen in both close portraits and wider wrestling images.

Wrist, hand and finger details in Cora Jade’s portraits

Small dark marks extend from the wrists onto the hands and fingers. One wrist shows a short vertical group of characters; the other hand has compact shapes between the forearm work and fingers. The photos don’t provide a reliable reading of every mark.

When Jade raises her hands near her face, the small tattoos move into the foreground. With folded arms or a championship belt, they blend into the larger blackwork.

Lower-body ink visible in Cora Jade’s full wrestling photographs

Full-body frames also show smaller marks around Jade’s thighs and lower legs. They are more separated, with open skin around them, while the arm and chest designs remain the most prominent. Ring gear covers parts of the lower body, so the photos don’t give a complete inventory or clear names for every piece.

The wider frame changes the scale of the collection: the arm designs sit within the wrestling gear and her pose, while the lower-body marks appear as smaller accents.

How the visual story changes between photographs

A close headshot brings the chest phrase and hands forward; a side portrait shows more of the forearm geometry; and full-body wrestling photos reveal the lower placements. Arena light can hide small details that are clear under studio lighting, and crossed arms compress the forearm designs in the frame.

These photographs offer different views of the same tattoos, not different versions of the designs. Their placement explains why some pieces are easy to see in a portrait and harder to pick out during a match.

Why the visual balance remains recognisable

A WWE video titled “Cora Jade’s CM Punk & AJ Lee Inspired Tattoos” discusses references attached to the collection. The photographs show the designs and their placement; the video adds context for the inspirations it covers.

Filippo Ganna’s forearms appear tattooed in race and team photos, though equipment and clothing can cover parts of them. One published account gives a clear history for a matching tattoo he shares with his sister; the other designs are less documented.

The story begins with two siblings

Cycling Weekly reports that Ganna and Carlotta chose matching anchors at 18. The image is a team portrait, not a close-up of the tattoo; the sibling account provides the placement and origin that the photo alone cannot.

The anchor is a shared design, but they wear it in different places. The published accounts don’t give a more detailed explanation for its symbolism.

The athlete behind the image

Ganna’s forearms are visible in many cycling and team photos, though jerseys, gloves and handlebars can cover or break up the view. The portraits show additional ink beyond the anchor, but the sources used here don’t provide a full list of those designs.

The photographs place the tattoos within his public life as a rider; they don’t establish when each piece was added or what it means.

Race-day context

A Cyclingnews photograph of Ganna with his forearms crossed shows more of the visible coverage than a typical race image. It records dense linework and shaded areas across the arms, but not a confirmed inventory of each shape.

Some forms may resemble familiar tattoo motifs, yet the photo doesn’t establish what they represent. It’s safest to describe the extent and placement of the ink without naming uncertain designs.

A changing public profile

How much of the forearm work appears depends on the photo. A close race image can show more texture; a team portrait may reveal only a few dark shapes beneath a sleeve; a face-focused crop can leave the tattoos out entirely.

Those differences reflect framing and clothing, not evidence that the designs have changed. The photos record different views of the same public image.

What the sources establish

Cycling Weekly and Italian coverage identify the shared tattoo and its family context. Other forearm designs are visible in photographs, but these sources don’t name them or assign meanings.

The family story before the spotlight

The account places the siblings’ decision before the race-day photographs that now make Ganna’s arms familiar to cycling fans. It records a personal detail from his life with his sister, separately from his later public career.

The complete story in one view

The sources provide a family history for one tattoo and photographs of the wider forearm ink, but no complete catalogue of the other designs.

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Alexander Büttner’s tattoos cover his arms, hands, neck and legs in dense black-and-grey work. The former Manchester United and Vitesse left-back has said the collection became part of him. His own stories point to two recurring subjects: family and Christian faith. The photographs also trace how quickly his relatively bare arms filled with layered designs.

His first tattoo was a cross he got with his brother at sixteen. He later described another cross from a trip to Ibiza, made with his brothers and nephew Giovanni. Some pieces mark those family moments; others were chosen because he liked how they looked.

Alexander Büttner’s number 28 and forearm dove tattoo

A close photograph shows the number 28 above a large black-and-grey dove. Dense shading gives the bird a dark body and softer feathered edges, while smaller marks fill the space around it toward the wrist.

Büttner told Sportnieuws that his brother was tattooing while the family joked around, and he asked for 28 under his foot. It was the number on his Vitesse shirt. The photo doesn’t show the sole of his foot, but the football reference and the family story are both part of the collection.

Small letters cross his fingers near the joints, so their shape shifts as his hand moves. Together with the number and dove, they make the hand part of the larger sleeve rather than a separate design.

Family lettering across the hand, neck and inner arm

The Vitesse match photograph shows overlapping arm work and the word Family above the collar. Büttner has also explained several of the smaller marks: “Jaxx” across his right-hand knuckles for his son, “Larissa” on his right forearm for his partner, a kiss from his mother on the inside of an arm and a fist bump from his father.

Those details sit among portraits, curves and dark ornamental shading. The names can be hard to read from a distance, while the sleeve’s larger shapes remain visible. Büttner has said his mother disliked neck tattoos, but he returned to that area; the lettering shows when his collar opens or he turns his head.

The Manchester United photographs and Büttner’s full sleeves

In this Old Trafford action shot, Büttner raises an arm and turns his forearm toward the camera. The ink runs from wrist to upper arm, with portrait-like faces, ornamental forms and dense shading between the elbow and shoulder. As the elbow bends, the separate pieces compress together, making the sleeve look different in motion.

The red Manchester United shirt makes the shading look heavier than it does against Vitesse’s yellow kit; lighting and camera distance also change how dark the work appears. In a Sportnieuws interview, Büttner recalled that his arms were empty when he first debuted for Vitesse and filled in over time. The wide match photo shows the coverage, while the close-up gives a clearer view of individual designs.

Religious imagery: the cross, Jesus, Mary and the angel

Büttner has described the cross he got with his brother as his first tattoo and connected it to their shared faith. Interviews also identify a large Jesus on his upper arm, an angel on his calf and an image of Mary on his arm. The sleeve photographs show these figures within a continuous field of black-and-grey portraits and shading.

The cross marks the start of the collection; the later figures take up more visible space. Where Büttner has explained a design’s meaning, his account provides the context. The photographs show the imagery, but don’t establish a separate story for every expression or detail.

Religious figures share space with family names, numbers and smaller symbols. The designs have built up over years, so the arm reads as one layered composition rather than a set of isolated pieces.

Vitesse return portrait: hand, neck and arm details

In the official Vitesse portrait, Büttner faces the camera in the club’s yellow-and-black shirt, one fist raised near his chest. Letters cross his fingers, and the lower arm shows portraits, words and compact symbols beneath the sleeve edge. The angle also makes the lettering on his neck easier to see.

The fist brings the hand closer to the camera, while the angled forearm reveals how the designs wrap from its inner side toward the wrist. It’s a calmer view than the action shots, though it still doesn’t show every mark. His hairstyle and club shirts changed over the years; the dove, names, crosses and shaded figures remained visible through those changes.

What the photographs reveal about the collection’s scale

The article’s five tattoo photographs show different parts of the collection: the forearm close-up isolates the 28 and dove, the Manchester United and Vitesse match shots show the sleeves, and the return portrait brings the hand and neck into view. A separate face portrait gives identity and facial context, but the tattoo images carry the detail. No single frame documents every mark.

Büttner has said he sometimes chose a design after looking through a tattoo-shop book and liking its appearance. That sits alongside pieces he connects to family or faith. A cropped arm can look like one dark block; a wider portrait separates the figures and lettering. Posture, light and clothing change the view, while the main subjects stay recognisable.

What Büttner has said about family and faith

Büttner says he hasn’t regretted any of his tattoos. He has described his longest sitting as about eight or nine hours, and named his son’s tattoo as a favourite because it marks the birth of his child. The cross with his brother, his mother’s kiss, his father’s fist bump and the word Family on his neck all carry personal associations he has shared publicly.

From a distance, the sleeves form a dense black-and-grey outline. Up close, the names, number and religious figures make it more specific. The photographs document the larger designs, while Büttner’s interviews explain why several of them matter to him.

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Danilo Luiz da Silva has described most of his tattoos as personal. They cover his hands, forearms, chest, shoulders and lower legs, from a realistic tiger on his left hand to a faith statement below his knee. Interviews explain the knee lettering; photographs show how the rest of the collection grew around it.

Danilo’s realistic tiger hand tattoo

A black-and-grey tiger covers the back of Danilo’s left hand. The realistic head sits above the knuckles, with dark fur, bright highlights around the eyes and muzzle, and shading that continues toward the wrist.

In January 2016, TyC Sports and GloboEsporte reported that Danilo visited Spanish tattoo artist Miguel Bohigues for the design. GloboEsporte said he wanted one of the most feared animals; AS described the tiger as continuing an earlier forearm tattoo. That places the hand piece within an arm already carrying substantial ink.

Danilo’s lower-leg football tattoos

The words below Danilo’s left knee read “Conquistando o impossível pela fé.”—“conquering the impossible through faith.” In a 2017 interview with The Guardian, he linked the phrase to a knee injury he suffered against Manchester City while playing for Porto. He said he spent three months out, then chose the sentence after recovering. He also described himself as deeply religious.

The script is usually covered by socks, shin guards or training gear. A separate lower-leg design shows the Champions League trophy with the years 2016 and 2017. AS identified it as a record of the two titles Danilo won with Real Madrid. The phrase and trophy mark different moments: recovery from injury and European trophies.

Chest script, cupid imagery and shoulder ink

Shirtless portraits show two lines of script across the right side of Danilo’s chest, a small cupid-like winged figure on the left, and a cross higher on the shoulder. The lettering follows the line of the pectoral, while the figure creates a darker, separate shape. Together they make an asymmetrical arrangement.

Danilo hasn’t publicly explained each chest design. The Guardian interview confirms the meaning of the knee phrase, but the available reporting leaves the script, figure and cross without a detailed personal explanation.

Dense forearm lettering and layered arm coverage

Juventus-era photographs show ink across both forearms, wrists and hands. The designs include large script, circular motifs, portrait-like shading and heavier black sections. On the left, darker hand and wrist work meets several distinct forearm pieces; they sit close together without forming one uniform sleeve.

A clearer off-field photograph shows lettering along the forearm, a circular design near the elbow and shaded images between them. The tiger is the most prominent single design, but it sits at the end of an arm that was already heavily tattooed. Script and abstract forms give the collection a mix of readable words and shapes whose details are less clear.

The forearm portrait and Danilo’s wider collection

This editorial portrait shows Danilo’s face along with uncovered wrists and forearms. Script, circular forms and shaded figures are visible across both arms, giving a wider view than the close-up of the tiger. The photograph helps place the hand tattoo in context, though it doesn’t identify every design.

Some of the lower-leg tattoos are harder to see in match clothing. Warm-up and interview photographs can reveal them when socks or trousers move, while the arms and hands are more often exposed. Together, the images document pieces with different placements and visibility.

How Danilo’s career record took shape

The reported dates connect a few designs to specific stages of Danilo’s career. He chose the faith phrase after the injury he suffered with Porto. The tiger was added during his Real Madrid years, and the trophy recalls the Champions League wins in 2016 and 2017. Later photographs from Juventus show more of the accumulated chest and forearm work.

The tattoos weren’t added as one coordinated project. Some carry an explanation Danilo has shared, such as the knee phrase; other pieces are documented mainly by photographs. Across the years, the hand, arms, chest and lower legs have filled with different styles and subjects.

A documented record of faith, family and football

Danilo has described his tattoos as personal, with faith, family, recovery and football among the themes. The clearest meaning he has explained is the link between faith and recovery; the trophy records two football achievements, and the tiger stands out as a realistic animal portrait. The available sources don’t explain every design.

The images show an evolving collection across his years with Santos, Porto, Real Madrid, Manchester City, Juventus, Brazil and Flamengo. The confirmed stories provide context for a few pieces; the rest are best described by what can be seen rather than assigned a private meaning.

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Richard Ríos’s tattoos cover his chest, arms, neck and part of one leg. Photos show a mix of scripture, names, lions, dates and smaller symbols. Reports from Infobae Colombia, Revista Vea and Televicentro explain several links to faith, family and Palmeiras; match and editorial photos show the pieces from different angles.

A collection built from several kinds of memory

The chest holds a lion, script, birds, a cross, a dove, a game controller and other small symbols. Long writing covers part of an arm, while a separate photograph shows a larger back piece. Match photos also reveal ink on the thigh and lower leg.

The collection combines different scales and subjects rather than one repeated design. Reporting identifies some meanings; other tattoos are visible without a confirmed explanation.

The Lord’s Prayer runs through the upper-arm tattoo

Infobae Colombia and Televicentro identify the long lines on Ríos’s biceps as the Lord’s Prayer, or Padre Nuestro. Online, the script had been mistaken for song lyrics. Televicentro also notes the word “Neimar” beside the prayer.

Reports mention an apparent spelling or accent error in that word. The prayer is written in dense lines across the upper arm, visible in match photos when his sleeve shifts.

The chest lion anchors the front-facing collection

A large lion’s head is the most prominent image on Ríos’s chest, with neck lettering visible above it. Around the lion are a dove, a cross, stars, curved lettering and a game controller. The words “Río 2019” appear high on the chest, with “Júlia Dassa” near the opposite shoulder. The available reporting doesn’t confirm meanings for those words or dates.

The lion gives the front-facing tattoos a clear centre, while the smaller symbols and lettering fill the surrounding space.

A larger rear composition expands the collection

A separate rear photograph shows another lion in a large black-and-grey piece, with portraits and ornamental shading from the shoulders toward the waist. Large letters cross the upper back; smaller figures and framed images sit within the broader composition.

Reports have described the lettering as motivational, but the photograph is the clearest evidence of what the back piece contains. The lion motif recurs, while the rest of the design combines figures, borders and text.

Arm tattoos combine scripture, names and dense shading

Beyond the prayer, photographs show more script and shaded work running along Ríos’s arms toward the wrists. Televicentro identifies “Neimar” as the name of his father and one of his brothers. Other words are harder to read in match images, so their meanings remain unassigned.

In a close view, the lettering forms a narrow block beside the torso. An action photo reveals more of the forearm and the transitions between script, linework and darker shapes.

Football tattoos preserve career memories

Revista Vea reports that Ríos has a tattoo marking his first Palmeiras title. It sits among personal and religious designs rather than as a separate club-logo collection.

Match photos often hide pieces under a shirt, shorts or kit. Different views reveal more of the tattoos, including the chest and arm work; Ríos’s path from futsal into professional football is part of the career context around them.

The leg tattoo gives the collection a lower-body anchor

Photos show a large shaded tattoo on Ríos’s right thigh, with work extending down the lower leg. At a distance, the forms are difficult to identify, but the size and dark coverage are clear.

The thigh is usually covered by his shorts, so it appears in training and match photos only when enough skin is exposed. It adds a separate lower-body piece to the chest and arm coverage.

A visual record built from changing match-day views

Infobae and Televicentro report the prayer and nearby name; Revista Vea covers faith, family and the Palmeiras reference; Superlike discusses the back piece. Getty, EFE and Wikimedia photos show different parts of the body, but no single source provides a complete catalogue.

Ríos has also responded to criticism about sharing his tattoos online, saying he is a footballer rather than an influencer and that his values come from home. The interviews explain some of the stories; photographs establish the visible designs and placements.

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