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MUNA’s documented tattoos are tied closely to the band’s shared history. The best-known pieces are three matching 7.7 tattoos, a permanent reference to the Pitchfork score for the group’s 2019 album Saves the World. Naomi McPherson placed the number on her thigh, Josette Maskin chose her forearm, and Katie Gavin put hers on her bicep.

The number is small, plain and immediately legible. Its meaning comes from the band’s own history rather than from an elaborate symbol. The score had become a running joke and a recognizable queer-pop reference, so the tattoos preserve one specific period of MUNA’s career in a compact form.

The trio already shared two earlier designs, an M and a swallow. The older marks and the newer number show how the band’s ink developed over time. One set is a simple emblem, one is a classic bird image, and one records an album-era joke. Together they create a visual record of the group without making all three members look identical.

The matching 7.7 tattoos preserve an album-era joke

Pitchfork’s profile follows MUNA while the members choose the size and placement of their 7.7 tattoos at Jelly, a queer and femme-owned tattoo shop in Los Angeles. Several versions are laid out on paper, ordered from smallest to largest. McPherson settles on a middle size for her leg, Maskin chooses a smaller version for her forearm, and Gavin remains more cautious about putting the number somewhere too obvious before joining the appointment.

The final tattoos are visually restrained. There is no ornamental border, date, illustration or block of explanatory text. The two numbers and the decimal point carry the design. That simplicity keeps the reference sharp: people familiar with the album and the Pitchfork score can read the joke immediately, while the mark still looks like an ordinary small number to everyone else.

The identical subject does not create identical results. The same 7.7 has a different relationship to the body in each photograph. McPherson’s thigh makes the design quieter, Maskin’s forearm gives it a more public position, and Gavin’s bicep places it on a moving part of the arm. The shared idea survives because the placements remain individual.

The tattoo story also captures MUNA’s tone. The appointment is described as a bonding exercise, but the members are not presented as solemnly establishing a formal emblem. They joke, compare sizes and negotiate how visible the number should be. That casual atmosphere is part of the documented meaning. The tattoos preserve a friendship and a career moment at the same time.

Close-up photographs show the small number on three bodies

The close-up photographs make the three 7.7 tattoos easy to compare. The number appears in the same basic form, but the surrounding body, angle and scale change from member to member. The images show the marks as fresh, simple linework rather than as a polished graphic removed from the people who chose it.

That visual difference matters because the tattoos are matching without being a uniform set. McPherson’s placement on the thigh gives the number a more private visual setting. Maskin’s forearm places the mark in a narrower vertical field. Gavin’s bicep gives the design a different curve and a different relationship to movement. The score stays constant while the tattoo’s context changes.

The close views also show why the band did not need additional symbols around the number. The emotional information is already present in the reference to Saves the World, in the band’s friendship and in the running cultural meaning of a 7.7 Pitchfork score. Extra imagery would have changed the tone from an inside joke into a more formal badge.

In the photographs, the tattoos function as small pieces of typography. The decimal point breaks the two numerals and makes the score unmistakable. The clean spacing leaves the marks readable, while the lack of flourishes keeps them connected to the deliberately plain score they represent. The design is memorable because it refuses to over-explain itself.

MUNA’s older matching M and swallow tattoos came first

Before the 7.7 tattoos, the members already had two matching designs: an M and a swallow. Pitchfork identifies both pieces as part of the group’s earlier shared tattoo history. The M can be read as a reference to MUNA, while the swallow belongs to a longer visual tradition of bird tattoos and carries a more illustrative shape than the later number.

The older pair has a different visual language from the 7.7. A letter and a swallow resemble familiar tattoo imagery, while the score is more specific to one album and one piece of music criticism. The three designs therefore mark different kinds of connection. The M identifies the band, the swallow adds a recognizable image, and the 7.7 records a particular joke shared by the members.

These tattoos also show that matching ink does not require the group to repeat one visual style forever. The earlier pieces remain part of the band’s history even after the number is added. MUNA’s shared designs grow in chapters, with each new mark linked to a different period and a different aspect of the relationship between the members.

The photographs from the tattoo-shop profile place the older ink beside the fresh numbers. That contrast makes the timeline visible. Older tattoos appear as established marks, while the 7.7 pieces document a new decision happening in front of the camera. The result is a small portrait of a band whose shared symbols changed as its public identity developed.

The body placement makes each 7.7 tattoo distinct

Placement is one of the clearest differences among the three matching tattoos. McPherson’s thigh keeps the number away from the central visual field of her arms and face. Maskin’s forearm makes the mark easy to see in the tattoo-shop photographs and gives the two characters a long, narrow setting. Gavin’s bicep places the score on an area that becomes visible with the movement of her arm.

The different locations also change the mood of the same design. The thigh piece reads as quieter and more concealed. The forearm piece feels more immediately connected to the band’s visible style. The bicep tattoo sits between those two registers, appearing in some clothing and disappearing in others. The members share the number without sharing the same level of exposure.

The photographs record more than the finished marks. They show the number during the appointment, when the band members are still comparing placement and reacting to the experience. That context is useful for understanding the tattoos as an event in MUNA’s history rather than as isolated images collected after the fact.

The tattoos remain small enough that the body location does not overwhelm the number. Their scale keeps the reference personal. The marks are visible in the profile because the band chose to tell the story, but the designs themselves do not turn into large advertising symbols for MUNA. Their first meaning belongs to the members and to the album moment they chose to preserve.

The photographs preserve a shared moment

The Pitchfork photographs place MUNA’s tattoo story inside the band’s ordinary rhythm of conversation, travel and music-making. The members are together, comparing sizes and reacting to the fresh marks, so the tattoos appear as part of a relationship rather than as isolated celebrity objects.

That setting gives the number a useful historical frame. The 7.7 refers to a record, but the images also preserve the people who made the record and the way they treated the reference as a shared joke. The older M and swallow marks remain visible in the same broader history, creating continuity between earlier band ink and the newer score.

A small record of the band’s history

MUNA’s tattoo chronology is unusually easy to follow because the Pitchfork profile documents the new 7.7 marks while also naming the earlier M and swallow. The report connects the score to Saves the World, identifies the three members, records their different placements and describes the tattoo-shop appointment. That combination gives the numbers a clear place in the band’s story.

The tattoos also show how a shared mark can hold several meanings at once. The 7.7 is an album reference, a joke about music criticism and a reminder of the period when MUNA’s members were building a larger audience. The M and swallow are older shared signs, linked to the group before the number became the most visible example of their matching ink.

None of the designs needs a grand explanation to remain significant. Their scale and plainness are part of the record. A small score can carry the memory of a record, a shop, a conversation and the relationship between three musicians. A letter and a swallow can carry the earlier chapter. The tattoos work because the visual language stays compact while the history behind it expands.

The group’s public story gives the tattoos a playful edge, but the photographs also show care in the way the members discuss placement and size. The result is not a manufactured matching set. It is a group of related marks shaped by three different bodies, three individual choices and one shared history.

Why the matching marks stayed personal

MUNA’s shared tattoos remain personal because they do not depend on a giant logo or a single identical composition. The letter, swallow and 7.7 connect the members, but the designs leave room for the band’s history to change. The marks can be recognized together while still belonging to Katie Gavin, Naomi McPherson and Josette Maskin as individuals.

The 7.7 is the clearest example. Its meaning is precise enough to identify the album-era reference, yet its plain form does not explain every layer to a stranger. The tattoo keeps a private joke inside a public image. The older M and swallow add another layer, showing that the band’s visual identity was already being carried on skin before the score was added.

Seen in sequence, the photographs turn the tattoos into a timeline of MUNA’s working relationship. The older shared marks establish continuity. The new number records a particular creative period. Different placements prevent the result from looking mechanically repeated, and the small scale keeps the designs close to the people who wear them.

MUNA’s documented ink is therefore less about a single style than about shared references. The tattoos preserve music, friendship, humor and the group’s evolving identity in forms that remain readable and distinct. The score, the letter and the swallow are small marks, but the band’s history gives each one more weight than its size suggests.

Samantha Moitzi’s most recognisable tattoo is pretty hard to mistake once you’ve seen it: delicate, written in bold black lettering across her upper stomach. It’s an interesting choice because the treatment doesn’t look especially delicate. The letters have weight, sharp details and enough size to hold their own across her torso. That contrast is what makes it work.

If you remember Samantha as a bride on Married at First Sight Australia, you might remember the clothes before the tattoos. A wedding dress and a cropped going-out top give you very different glimpses of the same person. Her ink fits into that everyday change of outfit rather than looking like something arranged for a television reveal. And her explanation of that big stomach piece is a lot more personal than a tough-looking font might suggest.

The delicate stomach tattoo

The word sits beneath Samantha’s bust and above her navel, running across the upper abdomen. In her mirror photograph, the black lettering follows a broad horizontal line with decorative points and curves. It has a blackletter feel rather than the loose, handwritten look you get with fine cursive. The reflection reverses the lettering, which is easy to forget when you’re trying to read a selfie.

This is a statement-size text piece. It doesn’t need a background of roses, shading or a separate illustration to fill the space. The shape of the letters does most of the visual work. There’s also breathing room around the word, so it reads as one deliberate element rather than a small sentence tucked between other designs.

That placement matters to the overall effect. It can disappear beneath a full-length top, then become the centre of an outfit with an open midriff. In the photograph, the word occupies the gap below her bikini top without extending down to her waistband. It’s substantial, but it still has a clear boundary.

There’s no reason to guess an exact font, needle configuration or session length from a photograph. Those details haven’t been established here. What you can see is the combination that gives this piece its character: dark decorative lettering, a single emotionally loaded word and a confident amount of space.

What she meant by feeling sensitive

Samantha explained that people can read her confidence very differently from how she feels inside. Speaking to 9Entertainment, she described coming across as confident and outgoing, then added: “But inside I can be quite insecure and really sensitive.” That’s the useful explanation to keep in mind when looking at the piece. The word points to a side of her that isn’t necessarily obvious on first meeting.

It also stops the design becoming a guessing game. You don’t have to assign it to a breakup, a particular episode or a private event she hasn’t identified. A personal inscription can express something about someone without acting as a neatly dated diary entry. Samantha’s own explanation gives it enough meaning already.

The visual contrast is my favourite part. A softer-looking treatment could have made the word feel like a decorative label. Here, the heavy lettering makes you pause. Being sensitive and looking confident can sit together perfectly well, and the appearance of the piece plays with that idea without needing a long explanation underneath it.

That doesn’t mean every large black text piece has to hide a vulnerable message. It means the person wearing it gets to decide what their chosen word says about them. In Samantha’s case, the meaning is clearer when you listen to her than when you try to read her personality off the style alone.

Her style away from television

Photographs of Samantha out at Burleigh in February 2022 offer a much more ordinary setting than a television wedding. In one, she’s walking in a pale outfit with an open midriff and crossing straps. It’s a useful look at her personal style: light colours, a long silhouette and a fairly simple set of accessories. The clothes leave some of her existing ink visible without making the whole outfit revolve around it.

The difference between that look and the black lettering is striking. You don’t need an all-black wardrobe to wear bold black work. Pale fabric and bare space can give a dark piece plenty of contrast, too. That’s a styling observation, rather than a claim about why Samantha chose her outfit.

Her fashion background also makes sense of the attention paid to what she wore on the show. In April 2022, So Dramatic! reported on her plans for the label Silk Leppard and identified her feather-trimmed reunion outfit as one of her own designs. That’s a specific moment in her career, rather than a reason to assume the label’s current availability or business status.

For anyone who likes the overall look, the practical appeal is the balance. There’s room for a noticeable personal detail without adding an elaborate print or a pile of jewellery around it. Sometimes a quiet outfit gives one strong feature more presence than several competing ones would.

Time out with her castmates

Another photograph from the Burleigh outing catches Samantha talking with Tamara Djordjevic and Jessica Seracino. It’s a separate exposure, with a different setting and pose, rather than another crop of the walking photograph. Samantha is the blonde woman in the pale outfit on the left. The scene is simply a moment with her fellow cast members, away from the ceremony and dinner-party format.

These off-duty photographs are a good reminder that a celebrity’s public image is made up of very different kinds of moments. A carefully lit reunion picture, a casual selfie and a conversation outside a restaurant all depict the same person, but they don’t give you the same information. Some depict an outfit clearly. Others tell you very little about the finer details of body art.

It’s easy to get carried away with the idea that every visible mark needs an explanation. Samantha has spoken about some of her pieces, but a candid photograph isn’t an invitation to invent a meaning for everything else. You can enjoy someone’s style without turning every small detail into a theory.

Samantha’s photographs show why the piece is so visually distinctive: the delicate lettering is broad enough to read across the upper abdomen, while its decorative treatment keeps the single word from looking like plain type. The surrounding styling changes from image to image, but the placement and scale remain the defining features of the tattoo.

A new setting in South Africa

Samantha returned to Australian reality television for I’m a Celebrity… Get Me Out of Here! in 2025. The setting was quite a change: camp clothing and outdoor trials instead of bridalwear. Her publicity photograph for the series puts her in a red T-shirt, neutral cargo trousers and a patterned head covering against a plain studio background. It’s an especially clear example of how different the same person can look in another television format.

Paramount’s account of her time on the programme describes an entrance involving a leap off a dam wall and a trial with Nicky Buckley that involved searching through a dumpster for stars. Samantha was the first contestant eliminated that season. Those are details about her participation, not clues to the meanings of individual pieces of body art.

That distinction is helpful because later appearances can make an older photograph look incomplete. People change their hair, their clothes and sometimes their collection of tattoos. A photograph taken in 2022 gives you a view of that moment; it doesn’t automatically describe everything they were wearing years later.

For Samantha, the change of setting adds useful context without altering her earlier explanation of delicate. You can look at her television career as a series of different experiences while letting that personal explanation stand on its own.

A more open conversation about body image

During her time on I’m a Celebrity, Samantha supported the Butterfly Foundation. In Paramount’s published explanation of her chosen cause, she spoke about eating disorders and body image and about wanting people to feel able to discuss their experiences and find support. That was a wider conversation than the meaning of one piece of body art.

It would be a stretch to say the stomach inscription was created for that cause, or that it documents a particular stage of recovery. Samantha hasn’t made that connection in the material discussed here. Her earlier explanation and her later advocacy are separate statements, and both deserve to be understood on their own terms.

What they do have in common is a willingness to talk about feelings that might not match an outwardly confident appearance. That doesn’t require us to diagnose her, draw conclusions from her photographs or judge how her body looks. Her words are enough to understand the point she was making.

It’s also a good reason to approach celebrity photographs with perspective. Samantha’s image records her own choices rather than setting a standard for anyone else. The tattoo can be visually interesting while remaining specific to her body, styling and personal history.

Taking inspiration without copying

One word, deliberately enlarged. Samantha’s stomach tattoo turns a personal word into a prominent visual statement. Its scale gives the lettering presence, while the fine decorative lines preserve the softness suggested by the word itself.

The lettering also has a strong relationship with clothing and movement. It can disappear beneath a fitted top, then become immediately legible when the fabric lifts or the styling exposes the upper torso. That changing visibility is part of the tattoo’s documented visual character.

Samantha’s explanation connects the word to her own feelings, but the photographs reveal the design’s other layer: a simple inscription treated almost like an ornament. The tattoo’s meaning and its graphic presentation work together without requiring a larger collection of symbols around it.

A chat with Samantha

For a different side of Samantha, her interview with The Project after leaving the jungle is a nice companion to the photographs. It’s a television chat about her experience on I’m a Celebrity, rather than a tour of her body art. Hearing her speak is a better way to get a feel for her than trying to work everything out from a still image.

Ludwig Ahgren getting a Twitch logo tattoo while he was streaming on YouTube was already a pretty good joke. Adding his cat made it a much better tattoo. The finished piece pairs Coots with the familiar chat-shaped logo, turning a charity-stream dare into something softer, funnier, and much more personal than a plain company emblem.

The headline-only version misses a little of what appears in the finished picture. The cat isn’t sitting politely beside the logo. It’s hanging over it, with its paws and body wrapped around the shape. That small choice makes the gag legible before the donation, audience vote, or platform joke is explained.

The Coots and Twitch logo tattoo on his leg

The clearest close-up shows a cartoon Coots draped over a large Twitch logo. The logo has a heavy black border, two dark vertical rectangles inside, and a pointed lower edge. It keeps the basic shape that viewers recognize, but it doesn’t dominate every part of the composition. The cat breaks up the top outline, hangs down beside it, and gives your eye something expressive to settle on.

Coots has a round head, folded-looking ears, a small pink nose, and large eyes with a slightly weary expression. Thin whiskers reach out across the face. The front paws rest over the upper edge of the logo, as though the cat has found somewhere to lean. On one side, you can see a raised paw with pink pads; a long, loosely drawn leg extends below the dark shape. It’s a deliberately cute pose without turning the whole piece into a sugary pet cartoon.

The contrast is what gives the piece its visual identity. The logo is straight, blocky, and dark. The animal is curved, lightly shaded, and a bit floppy. One element feels rigid; the other seems to be climbing over it. The composition keeps both forms readable without a pile of extra decorations. Even the small pink details stay fairly restrained. They give the cat warmth while leaving the black outline in charge.

The finished drawing keeps the joke readable

The tattoo is on his lower leg, rather than on the palm discussed during the earlier challenge. That’s an easy detail to miss if you read a report about the proposed tattoo and never see the finished one. A suggestion made on stream and the piece someone eventually wears aren’t always identical. Here, the completed photograph is the useful reference for the placement and finished appearance.

There’s also a difference between the stencil Ludwig shared during the process and the final ink. A stencil is an outline used for placement. The stencil does not capture the full shading, color, or weight of the finished work. If a picture looks like a simple purple outline, you’re looking at an earlier stage, not a different permanent version of the same piece. The completed close-up gives a much better sense of the cat’s face and the solid black areas.

The Coots detail matters because it changes the balance of the idea. A company logo on its own can look like an advertisement, a dare, or a declaration of loyalty. Put a beloved pet over it and the mood shifts. The platform reference is still obvious, but it shares the space with an animal that belongs to Ludwig’s life. That’s a design observation, rather than a claim that he chose every detail for some hidden symbolic reason.

And the expression is worth a second look. The kitten doesn’t seem triumphant or fierce. Those heavy-looking eyes make the pose feel a little resigned, which suits the comedy of someone following through on a promise he probably shouldn’t have handed over to other people. You don’t need to force a big emotional reading onto it. Sometimes a funny face on a well-drawn cat is enough.

The fresh photograph records the original arrangement without establishing anything about later changes. Lighting, skin redness, and the stage of healing affect a tattoo picture. What it shows clearly is the cat above and around the logo, bold black edges below, and small pink accents that stop the animal from disappearing into the heavier shape.

How a charity promise became a group decision

The setup came during Ludwig’s late-2022 charity subathon. He offered to get a tattoo based on donor suggestions, and Valkyrae’s $15,000 donation put her in a position to suggest something memorable. Her choice of Twitch was especially funny because Ludwig had already moved his livestreaming to YouTube. A straightforward platform logo became a very public bit of friendly troublemaking.

The audience got involved too. A poll included other suggestions, including Coots, and xQc encouraged people to vote for Twitch. Ludwig eventually brought the cat and the logo together. The finished piece combines the audience joke with a personal subject, which is a more interesting result than simply letting the winning option sit by itself on his skin.

The charity stream explains the setting

There’s a familiar tension in any audience-picked challenge: the spectators get to enjoy the choice, while the person making the promise has to live with it. That imbalance is the entertainment. With a tattoo, though, it also means that the final drawing matters after the broadcast ends. The joke might explain why someone booked the session, but it won’t do the visual work for the artist.

That’s why the cat is such a useful addition here. You can take away the chat messages and the vote totals and still have a coherent picture. Someone who knows nothing about the stream can see a little animal hanging over an angular shape. Someone who was there gets the extra layer. Both readings can coexist without a paragraph of explanation squeezed into the tattoo itself.

The platform joke became part of his streaming history

The tattoo also preserves a specific moment in Ludwig’s move from Twitch to YouTube. The platform reference is not presented as a complete career statement; it is the visual reminder of a public joke that continued after the broadcast and became part of his recorded streaming history.

The YouTube joke behind the reaction

When Ludwig shared the process in December 2022, he joked about getting the enemy tattooed on himself and addressed YouTube’s then-chief executive, Susan Wojcicki. She responded with an eyes emoji. His reply played along with the idea that someone had told on him, and he offered to get a matching YouTube tattoo with her. The exchange made the platform joke even easier to understand.

It would be a stretch to turn that into proof of an actual workplace dispute. The public exchange was playful. Likewise, an offer to get matching ink isn’t proof that a second appointment happened. A proposal on social media and a completed tattoo are different things. Keeping that distinction makes the story a lot less confusing.

The timing also matters. Ludwig had left Twitch for YouTube in late 2021, so the contrast had a specific meaning when he got the piece in 2022. You don’t have to treat the logo as a statement about every later career decision. A tattoo can belong to the circumstances in which it was made without becoming a running update on someone’s contracts.

For viewers, that is part of the appeal. The image can bring back a particular broadcast and the people who helped steer it. For everyone else, the cat gives the piece a way to stand on its own. The reference is specific, but the drawing doesn’t require an account on either streaming service to be readable.

Why the audience relationship matters

Ludwig has talked about letting his viewers influence his tattoos before. In his WIRED autocomplete interview, he described an earlier promise tied to reaching 1,000 Twitch subscribers. That account helps explain why another audience-driven tattoo challenge didn’t come out of nowhere. It fits a longer habit of making the viewers part of the stakes.

That doesn’t mean every suggestion from chat becomes permanent, or that every image circulating among fans is something he actually wears. Fan drawings, joke edits, and proposed designs can all look convincing when they’re separated from the conversation that produced them. A photograph of the finished piece does a different job from a clever concept posted in response to a challenge.

There’s something distinctive about that relationship between an entertainer and an audience. A conventional souvenir usually marks an experience you’ve already had. A live challenge can let the crowd help determine the souvenir while the experience is still happening. With Ludwig, the resulting picture becomes a reminder of both the broadcast and the decision to follow through.

The lasting part of the Coots piece is not only the drama of the poll. It is the actual picture left behind once the stream ends: a recognisable Twitch reference softened by a small, expressive drawing of Ludwig’s cat.

The Coots detail outlasts the original dare

The audience-selected origin is part of the tattoo’s history, but the completed image has its own visual logic. The Twitch logo supplies a rigid, immediately recognisable base while Coots supplies the curved outline, face, paws, and small pink accents that keep the piece from reading like a plain platform mark.

The cat changes the logo’s visual tone

The personal detail is the cat’s pose. Coots is not a decorative mark placed beside the logo; the body overlaps the shape and creates the impression of a small animal using it as a perch. That interaction is why the tattoo remains identifiable in a close photograph and still has a comic quality when the wider story is known.

The finished piece works as a funny, recognisable pairing with a clear silhouette and an expressive animal. The charity challenge explains how it happened, while the cat explains why the image remains distinctive after the punch line is familiar. Ludwig shows the finished result below.

Bely Basarte’s tattoos are personal first and decorative second. Her collection feels more like a notebook: some pages are loud, some are private, and a few only make sense once she explains the memory behind them. That’s what makes her ink so interesting. You can admire the colour and linework first, then find a much more personal idea underneath.

The clearest example is the large elephant tattoo on her leg. Bely discussed it with LOS40 while showing the design during an interview, and the story behind it is warmer than the usual celebrity-tattoo sound bite. She talked about her affection for elephants, her love of Dumbo, and a visit to an elephant orphanage in South Africa. The animal became a way to hold onto that experience, not just a dramatic piece of body art.

That elephant gives the whole collection a useful starting point. Bely’s tattoos aren’t presented as one perfectly matched sleeve or a single rigid style. They’re a mix of memories, references, drawings and symbols that have gathered over time. Some are colourful and neotraditional. Others are smaller and easier to miss. Together, they make sense because the meaning comes before the matching.

Bely Basarte’s elephant tattoo

The elephant is the piece with the strongest documented backstory. In the LOS40 interview, Bely showed a large design on her leg while explaining that elephants have always meant something to her. Her interest isn’t only about the animal’s size or recognisable shape. It connects to the way elephants care for one another, and to the emotional effect of seeing rescued animals up close.

She also connected the tattoo to Dumbo, which is a very Bely detail: sentimental, visual and rooted in a story she has carried for years. The design turns that feeling into something permanent without needing to spell out a long message. An elephant already carries ideas of memory, family, loyalty and resilience. The personal context gives those familiar meanings a sharper edge.

The image from the interview shows the tattoo at close range, with the head and large ears easy to recognise and warm colour worked into the design. It’s a proper tattoo-reveal image rather than a red-carpet photograph where the details are half hidden. That matters when you’re trying to understand the piece. The placement gives the design room to breathe, while the scale makes it feel like a focal point rather than a tiny symbol tucked away.

Bely’s explanation also keeps the tattoo from becoming a generic animal idea. She didn’t describe it as a random symbol of strength. She connected it to a specific trip, a favourite story and the sight of orphaned elephants forming their own group. Her phrase about a herd of orphans accepting each other is the emotional centre of the idea. The tattoo works because the image and the memory are inseparable.

Why the elephant means so much

There’s a difference between a tattoo that looks meaningful and one that has a real, traceable story behind it. Bely’s elephant belongs in the second category. The explanation is concrete: she had a long-standing affection for elephants, she had a connection to Dumbo, and she had visited an elephant sanctuary in South Africa. None of those details feels bolted on after the fact.

That approach is useful if you’re collecting tattoo ideas yourself. You don’t need to copy the exact animal or placement. The better lesson is to start with the memory and then ask what image carries it naturally. For Bely, an elephant can hold tenderness, family and remembrance without looking like a block of text. For someone else, it might be a bird, a house, a flower or a small object from a very specific day.

The elephant also shows why colour can be worth keeping when the subject has emotional weight. Black linework would still make the design readable, but the warmer tones give it a softer, almost illustrated quality. It feels closer to a storybook drawing than a harsh emblem. That suits the Dumbo connection and keeps the tattoo personal instead of overly serious.

Placement plays a part too. A large leg tattoo can be seen when Bely wants it to be seen, but it doesn’t have to dominate every outfit or performance. That kind of flexibility is easy to overlook. A meaningful tattoo doesn’t have to be on the hand or neck to stay present in your life. Sometimes a larger area gives the artist space to make the drawing expressive while still leaving the wearer control over when it appears.

The stories behind the collection

RTVE Playz’s Tintas episode gives a wider view of Bely’s tattoo collection. The programme presents her as someone with tattoos across a substantial part of her body, with designs that include owls and colourful neotraditional work. That description helps explain why one close-up elephant frame can’t stand in for the whole collection. There are several visual languages happening at once.

Owls bring a different mood from the elephant. They can suggest observation, night, instinct or wisdom, but Bely’s collection doesn’t force every design into the same symbolic box. The value is in the combination. A bold traditional-inspired piece can sit beside a smaller personal mark and still feel coherent because both belong to the same person.

The Playz material is helpful for another reason: it treats the tattoos as part of a conversation. You see Bely talking about the ideas rather than posing in a frozen image where every piece is supposed to be instantly legible. That makes the collection feel lived in. Some details are clear, while others remain partly hidden by angle, clothing or the limits of a video still. Good tattoo coverage should be honest about that.

It’s tempting to build a celebrity tattoo page by listing every shape visible in a photograph. That can turn into guesswork quickly. Bely’s interviews offer a better model. The elephant has a documented explanation, the lavender branch and other pieces have meaning she has discussed, and the broader collection can be described without pretending every small line has an official interpretation.

A quieter personal memory

In a LOS40 question-and-answer, Bely described a favourite tattoo as a hand holding a lavender branch. She connected it with home, which gives the design a quieter feeling than the large elephant. Lavender can already suggest calm, memory or care, but the hand changes the image. It feels held rather than simply planted, like something being protected or carried.

She also spoke about a blindfolded girl tattoo as a symbol of trusting the people she loves. That idea says a lot about the way Bely talks about her ink. The design isn’t reduced to a neat online definition. Trust is a relationship, so the image becomes a reminder of who she can rely on when she can’t see everything clearly herself.

Those two examples make the collection feel more intimate. The elephant is large and immediately recognisable. The lavender branch is a smaller domestic image. The blindfolded figure is more figurative and open to interpretation. They don’t need to match stylistically to belong together. Their shared thread is that each image is tied to a feeling Bely can name.

There’s a practical design lesson in that mix. If you’re planning a meaningful tattoo, you can choose one image for the big memory and another for the quieter everyday idea. You don’t have to make every piece dramatic. A small botanical symbol can carry as much emotional weight as a large animal when the connection is real.

How the images fit together

The supporting photographs here are context rather than proof of a particular tattoo. LOS40’s portrait images show Bely with visible arm and leg work, which helps communicate how much of her collection is part of her everyday look. They don’t identify every design, and they shouldn’t be read as a catalogue of confirmed meanings. Their job is to show the person wearing the tattoos, not to replace the interviews.

That distinction is important with celebrity ink. A photograph can show that a tattoo exists, but it can’t always tell you when it was done, who designed it or what it means. Bely’s own explanations fill in some of those gaps. The images then give you a visual sense of scale, colour and placement without pretending to know more than the sources support.

The RTVE and LOS40 material also shows why different angles matter. A close-up can reveal the elephant’s shape. A wider portrait can show how the leg piece sits with the rest of the collection. A posed interview frame can make the arm work easier to see. None of those views needs to be treated as a separate tattoo. They’re different ways of understanding the same body of work.

What to borrow from Bely’s approach

Bely’s best tattoo lesson is simple: pick images that can carry your memories without needing a caption underneath them forever. The elephant works because the subject already matters to her, then the trip to South Africa gives it a sharper personal edge. The lavender branch works because home is a feeling she can return to. The blindfolded girl works because trust is something she wants to remember.

You can borrow that method without copying the artwork. Start by writing down a few moments, people or places that still feel important. Look for a visual that holds the same mood. If the memory is soft, a botanical design may fit. If it’s about endurance, an animal or weather symbol might make sense. If the meaning is private, a small image can be better than a giant statement piece.

It’s also worth leaving room for the tattoo to grow with you. Bely’s collection doesn’t look as if it was planned as one locked set. It has room for different colours, eras and drawing styles. That can be more realistic than trying to design a perfect sleeve before you’ve had any tattoo experience. A collection can become a record of changing interests rather than a single brand identity.

Finally, don’t rush the explanation. Bely’s elephant story is compelling because the image came after the feeling, not before it. Spend time with the idea, find an artist whose linework suits it and make sure the placement works for your daily life. A good tattoo can be beautiful on day one, but the meaning is what keeps it from feeling disposable later.

The short version

Bely Basarte’s tattoos are a mix of colour, character and memories. The large elephant on her leg is the standout documented piece, linked to her love of elephants, Dumbo and a South African sanctuary visit. Her lavender branch represents home, while a blindfolded girl reflects trust in the people close to her. RTVE Playz has also highlighted owls and neotraditional designs across a collection that covers much of her body.

The collection doesn’t work because every tattoo follows one trend. It works because the images have somewhere to come from. That’s the part worth taking away: choose a picture that feels like a real memory, then let the style and placement support it.

Gracyanne Barbosa’s tattoos make more sense when you look at them through the life she actually lives. She’s a Brazilian fitness model, dancer, television personality, and long-time Carnival figure, so the ink isn’t just there for decoration in a posed photo. Some of it is tied directly to the costumes, heat, movement, and skin irritation that come with performing. In a 2025 conversation reported by Gshow, Gracyanne said all of her tattoos have something to do with Carnival. She even explained that some designs cover marks left by costumes rubbing against her skin.

There’s also a more intimate piece that has been photographed and reported for years: the name Belo across the lower back, near the top of the buttocks. A separate small tattoo sits higher on her torso, while star shapes are visible across the upper chest and shoulder area in a Gshow still. The public photos don’t give us a complete tattoo catalogue, and they don’t explain the meaning of every mark. That’s fine. There’s still plenty to learn from the placements, the scale, and the way the tattoos sit on a body that’s constantly moving.

Photo note: this repaired draft uses only the two verified tattoo photographs available from the reporting: the upper-chest stars and the lower-back lettering. No generic event portraits are being used as tattoo evidence.

What Gracyanne Barbosa has actually said about her Carnival life

The strongest piece of reporting comes from Gshow, where Gracyanne talked with Daniele Hypolito about a mark on one of her tattoos. She explained that Carnival costumes can leave dark patches, scars, or small burns because the material rubs against sweaty skin. Her answer was direct: she put tattoos over some of those marks. She also said the tattoo on her calf is connected to Carnival, just like the rest of her collection.

That detail changes the way you read the photographs. It’s easy to assume every celebrity tattoo starts with a carefully planned symbol and a deep explanation. Gracyanne’s own account is more practical. Some of her ink came from the reality of performing, from wanting to cover skin damage and turn an annoying reminder into something intentional. The result can still look glamorous, but the reason behind it is grounded in work.

It’s important not to turn that comment into a claim that every visible tattoo has one specific meaning. She said the tattoos relate to Carnival, not that she has publicly named every design or every artist. The safest reading is that Carnival is the common thread. The exact story of each piece remains hers to tell.

The stars across her upper chest

A Gshow still gives us the clearest look at two star tattoos on Gracyanne’s upper chest and shoulder area. They’re dark, compact stars with a soft, slightly shaded look rather than crisp geometric outlines. The image is a close crop, so it doesn’t show her face or the whole tattoo collection, but it does show how the stars sit against the curve of the upper torso. The placement is the point: the designs sit where costume lines can reveal or hide them.

Stars are common tattoo ideas, but placement keeps them from feeling generic. These aren’t tiny wrist stars tucked into a bracelet stack. They’re positioned where a bikini top, stage costume, or open neckline can reveal them. That makes them part of the visual rhythm of her performance wardrobe. They can disappear under clothing, then reappear when the costume changes.

The shapes also have enough weight to hold up against a muscular frame. Fine-line stars might have looked delicate in the same spot, while these darker marks keep their silhouette from getting lost. If you’re taking inspiration from them, the useful idea isn’t copying the exact stars. It’s thinking about contrast. A design needs enough line weight for the placement, the distance people will see it from, and the amount of movement around it.

The lower-back Belo tattoo

The most talked-about tattoo in Gracyanne’s collection is the name Belo written across her lower back. Published photographs show the lettering just above the bikini line, in a spot that can be covered easily or displayed deliberately. The piece was made as a tribute to her former husband, the singer Belo, and reports have described it as an older tattoo that stayed part of her public image for many years.

This is a good example of how placement can carry as much attitude as the lettering itself. A name tattoo on the forearm is visible in almost every outfit. A name tattoo on the lower back is more private, but it becomes very noticeable in swimwear, Carnival costumes, and photos taken from behind. The design is simple enough to read quickly, which is exactly what makes it so bold.

There’s no need to romanticise the decision. Relationship tattoos can feel meaningful when they’re made, and they can become complicated when life changes. Gracyanne’s tattoo has been photographed and discussed because it’s visible, not because the public is entitled to a full explanation of what she feels about it now. The practical lesson is clear: names are permanent, and a hidden placement is still a public placement when the right outfit or camera angle comes along.

A smaller detail sits above the lettering

The same close photograph shows another small design higher on the centre of Gracyanne’s torso. It appears darker and more detailed than the simple script below it, though the crop and lighting make it hard to identify every line. That’s where a little restraint matters. We can describe the position and overall shape, but we shouldn’t invent a symbol or a meaning that the image doesn’t establish.

Spacing the smaller pieces

Small tattoos in the centre of the body can be surprisingly tricky to place. The skin moves with breathing, posture, muscle definition, and weight changes. A design that looks centred while standing may shift visually when someone bends or twists. Gracyanne’s photos are a reminder that an artist needs to work with the body in motion, not just draw a flat sticker for a reference board.

If you like the stacked look of a small central tattoo above a word or name, leave enough space between the two designs. The gap gives each piece room to breathe. Cramming separate tattoos together can make them blur into one dark patch over time. The simpler the shapes, the more important clean spacing becomes.

The wider performance context

Gracyanne has spent years in a world where the body is part of the performance. Carnival costumes are built to move, sparkle, and reveal skin, but they also sit tightly against the body for long periods. Sweat, straps, metal details, and rough fabric can create a lot of friction. Her explanation about covering marks with tattoos gives the collection a practical angle that most celebrity tattoo roundups miss.

Her tattoos aren’t simply a set of designs chosen for a studio portrait. They’re seen during rehearsals, parades, fitness appearances, and photos where the pose changes every few seconds. A tattoo on the calf can look different while walking than it does while standing still. A star on the chest can be partly hidden by a costume in one picture and completely clear in the next. That movement is part of the look.

It also explains why her ink can feel connected even when the designs don’t look like one matching sleeve. The shared idea is the setting: Carnival, performance, skin, and the marks left behind by working in costumes. That’s a more useful way to think about a collection than forcing every piece into a single visual style.

Formal event styling changes the read

Formal event photos give a different view of Gracyanne than the close tattoo shots. In a black evening dress, the visible skin is framed by fabric, jewellery, and a polished red-carpet setting. The ink becomes quieter. You may notice a small mark on the torso or the edge of a design on the arm, but the tattoos don’t control the whole photograph.

That shift is useful if you’re planning visible work. The same tattoo can feel loud in swimwear, balanced in a stage costume, and almost hidden under formal clothing. None of those readings is more correct than the others. They’re just different contexts. Good placement gives you options, especially when your everyday wardrobe changes a lot.

Gracyanne’s photographs also show why tattoo descriptions should stay honest about what’s visible. A full-length image can confirm the overall placement of ink, but it usually can’t confirm a tiny symbol. A close crop can show the design clearly, but it can’t tell us how that tattoo fits the rest of the body. Using both types of image is more useful than pretending one picture answers every question.

Practical notes for moving skin

Gracyanne specifically mentioned the tattoo on her calf while explaining her Carnival-related ink. The published report doesn’t give us a clean, detailed photograph of that design, so the responsible thing is to stick to what she said: the tattoo is connected to Carnival, and her broader collection helped cover marks caused by costume friction. It would be wrong to fill in the design from guesswork.

The calf is a practical place for a tattoo linked to performance. It’s visible in many costumes, it has a long surface for flowing shapes, and the muscle gives an artist a strong natural line to work with. At the same time, the area moves constantly when someone walks, dances, or climbs stairs. A design that follows the curve of the calf will usually feel more natural than one placed as if the skin were perfectly flat.

There’s a wider point here about cover-up tattoos. Covering a scar or burn isn’t always as simple as placing dark ink over it. Scar tissue can have a different texture and may take pigment differently. Anyone considering that route should speak with an experienced tattooer who understands scarred skin and can be honest about what is realistic. “Todas as minhas tatuagens têm alguma coisa de Carnaval.” Gracyanne’s story makes the emotional idea easy to understand, but the technical side still needs care.

A balanced visual rhythm

Gracyanne’s visible tattoos range from a readable name in a private-but-displayable spot to smaller marks on the torso and stars across the upper chest. That mix keeps the collection from feeling flat. One design carries words and history. Another brings a graphic shape. The smaller marks give the eye somewhere else to land.

Scale matters because the body is already doing a lot of visual work. Muscle definition, costume texture, stage lighting, and movement all compete for attention. A tattoo doesn’t need to be huge to survive that environment. It needs clear edges, enough breathing room, and a placement that supports the way the person moves.

For anyone building a collection, the takeaway is to plan the rhythm rather than every single piece. You might want one larger tattoo that anchors an area, then two or three smaller designs around it. Or you may prefer separate pieces with plenty of open skin. Gracyanne’s photographs show that both approaches can feel intentional when the placement works with the body.

Making the idea your own

If you like Gracyanne Barbosa’s ink, start with the parts that actually appeal to you. Is it the stars? The confidence of a lower-back name? The idea of turning a scar into something decorative? Write that down in your own words. Don’t just send a screenshot and ask an artist to trace the same tattoo.

For a star tattoo, decide whether you want a soft shaded shape, a clean outline, or something more graphic. For body placement, test the idea in a mirror while standing, sitting, and moving your arm. For a name or phrase, check how the lettering reads from a distance. Script that looks beautiful in a phone photo can become hard to read when the letters are too thin or packed too tightly.

Most importantly, think about what you’ll still be comfortable showing years from now. A tattoo inspired by Carnival can be colourful, energetic, and tied to performance. A relationship name can feel right in one chapter of your life. The design should still be yours, with a size and location you can live with even when the reference celebrity’s story changes.

The final read on Gracyanne Barbosa’s style

Gracyanne Barbosa’s tattoo collection has a clear thread: Carnival, performance, and the physical reality of wearing costumes on a working body. The stars across her upper chest are easy to see in a Gshow still. The lower-back lettering dedicated to Belo is one of her most documented pieces. Her own comments add the most useful context, especially the explanation that tattoos helped cover marks caused by costume friction.

There’s no need to claim more than the photographs and reporting support. We don’t have a public explanation for every design, and we don’t have a clean image of every tattoo she has mentioned. That doesn’t make the collection less interesting. It makes the useful details clearer: the placement, the contrast, the movement, and the decision to turn the marks of performance into something she chose to keep.

If you take inspiration from her style, take the attitude rather than the exact artwork. Think about the body area, the way the design will move, and whether the tattoo belongs to your own life. That’s how a celebrity reference becomes a tattoo idea instead of a copy.

René ZZ is the sort of tattooed creator who makes a quick scroll turn into a full evening of watching interviews. His look isn’t built around one neat sleeve or a single statement piece. The Spanish YouTuber has spent years treating his body as a long-running art project, layering black-and-gray work, bold coverage, color, and a few very personal decisions along the way. That makes his ink interesting even if you’re not planning a full bodysuit yourself.

What makes René’s tattoos worth looking at is the honesty around them. He has talked about spending a huge amount of money on the work, the pull of becoming more heavily tattooed, and the emotional reasons that can sit underneath a visual choice. He has also been open about the fact that a body covered in ink doesn’t automatically settle every insecurity. Sometimes it gives a person a way to speak before they know how to explain themselves. The emotional honesty matters as much as the visual impact.

This isn’t a clean list of every tattoo René ZZ has ever worn. His coverage changes, and the available images don’t always show the same parts of his body. It’s better to stay with the pieces and themes that can actually be seen or that René has discussed, then leave the guesses alone.

René ZZ’s full-body tattoo project

René’s main tattoo story is the scale of the project. He has described the decision to keep adding ink as something that grew over time, not as one grand appointment where he suddenly decided to cover everything. That distinction matters. A bodysuit assembled over years carries traces of changing taste: earlier color work can sit beside later black coverage, and a design that once felt like the final answer can eventually become part of a bigger composition.

The most useful way to read his body art is as a map rather than a catalogue. There are sections that feel deliberately dense, areas where skin is given room to breathe, and transitions where one piece leads into another. A tattoo session photo shows the practical side of that process: stencil placement, the awkwardness of holding still, and the fact that large-scale work is built in stages. The finished image may look effortless, but the route to it is anything but.

René has also spoken about the money involved. Reports around his recent interview put the total investment at roughly €80,000. That number is striking, but it isn’t a recommendation or a price guide. It reflects years of appointments, specialist artists, long sessions, travel, aftercare, and the sheer amount of skin being worked on. Anyone considering large coverage should think about healing time and maintenance just as seriously as the budget. Large-scale work is a long commitment, not a weekend makeover.

The chest and torso work

The torso is where René’s tattoo style becomes easiest to read. A shirtless portrait shows dense black-and-gray patterns moving across the chest and neck, with the overall effect landing somewhere between ornamental design and a deliberately built visual uniform. The work is not a tiny collection of isolated symbols. It has weight, repetition, and a strong sense of direction.

Chest tattoos are demanding because the body moves constantly. The sternum, ribs, collarbones, and upper chest all stretch differently, so a design needs to survive changes in posture. René’s coverage shows why large pieces often use broad shapes and strong contrast. When a tattoo occupies that much space, the eye needs a clear rhythm. Heavy areas anchor the composition while finer marks keep it from becoming a flat block of black.

There is another detail people often miss: the neck makes the chest feel larger. Once ink rises above the collarbone, the tattoo stops reading like a piece you can hide under a T-shirt and starts reading like part of the person’s outline. That is a major commitment. It changes how every portrait, interview, and casual photograph feels, which is one reason René’s neck and chest are so central to his public image.

Black-and-gray tattoo patterns, color, and contrast

René’s coverage isn’t limited to one technique. Public photographs show black-and-gray work alongside colorful sections and more graphic areas. That mix keeps the overall look from becoming too predictable. Color pulls attention quickly, while black-and-gray gives the composition a darker, quieter base. Together they create contrast without needing every tattoo to compete for the same amount of attention.

One of the most useful ideas here is consistency without uniformity. The individual tattoos don’t have to match perfectly. They can share line weight, shading habits, or a general mood while still looking like separate moments. That is a smart approach for anyone building a collection over time. Trying to make every future tattoo look identical can make a body feel boxed in. A shared visual language leaves more room to change your mind later.

The photos also show why body placement matters more than a design looks on a screen. A pattern that looks balanced on a flat reference image can behave differently over a shoulder, a rib cage, or the curve of a forearm. René’s larger pieces work because they follow the body instead of pretending the body is a blank page. That’s the difference between simply collecting images and working with a tattoo artist who understands composition. Flow is what keeps heavy coverage readable.

The meaning behind the ink

René has described his tattoos as connected to memory, identity, and a need to be seen. In one recent interview, the conversation moved beyond the usual question of which design hurts most. He was asked whether covering his body had been a way to hide something or to reinforce himself. His answer was more complicated than a simple yes or no. The tattoos could be aesthetic, personal, protective, and emotionally loaded at the same time. That is where his story becomes more than a style reference.

That complexity is part of what makes the story relatable. People sometimes talk about meaningful tattoos as if every piece needs a perfect explanation. René’s journey suggests something looser. A tattoo can mark a period of life, hold a private reference, or simply become part of the way someone wants to inhabit their body. Meaning can also change. A design that starts as a loud declaration might later feel like evidence of a younger version of you.

He has also linked his tattoo story with a later spiritual change. That doesn’t erase the earlier work, and it doesn’t make the tattoos one-dimensional symbols of regret. It adds another chapter. When someone’s beliefs or priorities shift, their old ink remains a record of what they once wanted, feared, or needed. That is a more honest view than pretending a person has to either love every tattoo forever or reject the whole collection. Ink can outlive the reason it was chosen.

Hands, arms, and the details that change the silhouette

Small areas can change a tattooed silhouette just as much as a large chest piece. René’s hands, arms, and neck appear in many of the public photos because they are difficult to hide. Hand tattoos in particular carry a practical tradeoff: they are visible in almost every interaction, and the skin can be hard on fine detail. They also fade unevenly, especially when the hands are exposed to sun, washing, and constant movement.

His arm coverage shows another advantage of working in stages. Sleeves can be built around a central idea, then extended when the wearer understands how the earlier pieces healed and aged. That slower process gives an artist room to solve awkward gaps instead of filling every inch in one rush. If you’re planning your own sleeve, leaving space for future work can be useful. It keeps the first appointment from making decisions for the next ten years. Patience can be part of the design.

The practical lesson is simple: visibility should be chosen, not drifted into. René’s tattoos make the strongest impact because the commitment is obvious. Before copying the look, think about work, family, travel, and the kinds of situations where you may want your skin to speak for itself. There is no shame in keeping a meaningful piece private. A tattoo can still matter when only you know it’s there.

What this collection says about long-term choices

That long view is the part many people miss. René’s collection is not a quick before-and-after project; it is a series of decisions that kept accumulating.

How the sessions shape the result

René’s body art is a good reminder that a tattoo collection doesn’t have to arrive fully explained. It can grow through different phases, artists, styles, and emotional states. What holds it together is not always a single subject. Sometimes it is the owner’s willingness to keep looking at the work, admit when a choice came from a difficult place, and decide what the next mark should mean.

For someone starting out, the takeaway isn’t to copy a full-body look. Start with the part of the process that feels sustainable. Pick an artist whose healed work you can inspect. Talk through placement and aging. Ask what happens if the design needs a future cover-up or extension. Give yourself time between appointments. The most impressive tattoo collections are rarely impressive because they were completed quickly.

It is also worth separating inspiration from imitation. René’s photographs can spark ideas about contrast, density, blackwork, ornamental flow, or the way tattoos wrap around the body. They can’t tell you how the same design will sit on your skin, how your job will react, or how you will feel about a visible piece five years from now. Use the reference to start a conversation with a tattoo artist, then make the final design your own.

There is a human side to the whole thing, too. René’s interviews move between art, pain, money, memory, and faith because tattoos rarely stay inside one category. They can be decoration one day and a diary entry the next. They can make a person feel more at home in their skin, even when the reasons behind them are messy. That tension is what gives his ink more depth than a simple list of designs.

René ZZ’s tattoos are still changing, and available coverage will never show every appointment. What we can see is a long-term project built with real commitment: broad body coverage, strong black-and-gray structure, flashes of color, and a willingness to discuss the emotional weight behind the image. Whether you like the style or not, the collection has a clear point of view. It treats tattooing as a form of identity, not just an accessory.

The covered-up Celtic knot and dog tattoo

In October 2025, Maine Senate candidate Graham Platner showed a chest cover-up after his earlier tattoo drew attention for resembling Nazi imagery. The replacement is a dark Celtic knot with a dog-like figure and green details, placed high on the chest over the old design.

Platner told the Associated Press that he got the original skull-and-crossbones tattoo in 2007, while in the Marine Corps and on leave in Croatia, without knowing its connection to Nazi police. He first discussed removal, then said a cover-up was more practical because removal could take years and the tattoo was large.

The knot’s interlocking bands create areas for strong outlines and dark coverage. AP described the animal as having four long legs, an elongated head and a curly tongue. The dense shapes help the new design cover the old ink.

Most of the piece reads as black, with green in the knotwork. That color helps distinguish the looping bands from the central figure without making the whole tattoo bright.

The design spans the upper chest where the earlier tattoo sat. A piece this large has to follow the sternum, collarbones and pectoral muscles; here it reads as one broad panel rather than several smaller patches.

Who is Graham Platner?

Platner is a Maine political candidate and former Marine. That background is relevant to how the original tattoo entered the public record, but contextual portraits aren’t close evidence for the cover-up’s details.

The original symbol became controversial because it resembled Nazi imagery. Platner said he hadn’t known that association when he chose it. Researching an image’s history and current use before getting it can prevent that kind of discovery later.

Platner said he wanted the old image off his body. The replacement keeps the chest placement but changes the design. The visible knot and dog-like figure can be described without assigning them a private meaning he hasn’t shared.

His working-life context

If you like knotwork, open spacing and simpler curves can make a smaller version easier to read. Tightly packed fine lines may blur over time, especially on an area that bends and moves.

Cover-ups need enough dark or layered detail to work with the ink beneath them. A clear photo in even light helps an artist assess what can show through and whether fading or a different design could help.

Contextual images show tattoos on Platner’s arms and his overall, casual look, but not every detail. The two AP images used as direct evidence show the original chest tattoo and the later interview photo of the cover-up.

The story reaches the campaign

The design balances a regular frame with an irregular figure: the knot gives it structure, while the animal keeps it from reading as a repeated border. That contrast is a clear feature of this particular piece.

Before committing to a cover-up, ask to see healed work and discuss how the old ink may affect the new colors. An artist can talk through a full cover, a partial laser fade or another approach based on the actual tattoo.

What the public photos show

The replacement’s main design choices are its broad chest placement, dark coverage, strong outline and central figure. It was built around the existing tattoo, not simply placed over blank skin.

The original controversy is part of the record: the tattoo was reported to resemble a Nazi symbol, Platner said he didn’t know that history, and he later covered it. The design can be discussed without turning the harm behind the association into a novelty.

For a chest piece, use the photos to study scale and coverage, then bring knotwork or animal references separately to an artist. A custom design should follow your body and the ink it must cover, rather than copy Platner’s exact solution.

Ayesha Curry’s tattoos are small and mostly fine-line, placed across her arms, wrist, thumb and ankle. They include family references, faith, her cooking work and matching pieces with Stephen Curry.

The designs range from a tiny kitchen whisk to forearm lettering and geometric symbols. Each points to a different part of her life, without filling the skin with large illustrations.

The willow tree on Ayesha Curry’s arm

The willow is one of the more detailed pieces: a narrow trunk, spreading branches and loose leaves, drawn in soft lines on her arm.

Winter Stone shared the tattoo. Tags around the post referred to strength, love and family; the image itself stays understated, more like a small emblem than a large statement.

The matching greater-than and less-than symbols

Ayesha and Stephen have matching greater-than and less-than symbols, turned toward each other. The idea is to stay with the present rather than get pulled into the past or future.

Stephen has described touching or slapping the matching tattoos before games. The small design is part of a shared pregame routine as well as a reminder.

For matching ink, simple symbols can keep the layout open and readable. The important choice is what the marks mean to the people wearing them.

Her “faithfully” forearm tattoo

Ayesha wears “faithfully” in slim cursive along her forearm. The script follows the arm, with a light loop at the start and an open final stroke.

Jon Boy tattooed the word at West 4 Tattoo in 2016. Ayesha said it reflects giving glory to God and trying to live with grace and passion; she described it as a personal cue rather than decoration.

The letters need room to stay distinct. With small script, spacing matters as much as the font, especially as the ink settles and ages.

The three family symbols

Ayesha’s three geometric designs represent her children, Canon, Ryan and Riley: a young wolf for Canon, a butterfly for Ryan and a horse or unicorn for Riley’s free spirit.

The thin angular lines give the three animals a shared look without making them identical. The butterfly is open, the wolf compact, and the horse-like figure has a more moving outline.

Winter Stone made the family tattoos. Ayesha shared them with a caption about each child; the animal symbols carry that meaning without using names or portrait likenesses.

The tiny whisk on her thumb

The small whisk near Ayesha’s thumb or knuckle is a direct nod to her work with food. Close up, its fine line reads as a kitchen whisk; at a glance it becomes a simple mark.

Jon Boy did it in 2016, around the time Ayesha was expanding into food television, cookbooks and Gather. The tool says more about that work than a larger chef-themed image would.

Small hand tattoos can soften with friction and movement. The whisk works as a simple outline; extra crossbars could make such a tiny design harder to read.

The Hebrew lettering she shares with Stephen

Ayesha and Stephen also have matching Hebrew lettering along the forearm. Tattoo coverage translates the phrase as “love never fails to be”; that translation is how it has been reported.

The Hebrew text is language, while the greater-than and less-than symbols are abstract. Both are matching pieces the couple can see and share.

If you choose lettering in a language you don’t read, check it with a fluent speaker and a tattooer who can reproduce it accurately. Confirm direction as well as spelling before the appointment.

The pineapple at her ankle

Ayesha’s small black pineapple outline sits on the inside of her right ankle. Its leafy top and rounded body give it a lighter feel than the family and faith designs on her arms.

The pineapple is associated with a Curry family tattoo gathering after Golden State won the 2017 NBA championship. Nino Lapid tattooed several family members. It’s often linked to the celebration and the Warriors, while pineapple imagery can also suggest welcome and hospitality.

The ankle keeps a small design visible with sandals and covered by most shoes. It’s an easy place for a personal mark that doesn’t dominate the collection.

The outlined heart on her wrist

The small wrist heart is an open outline, not a filled shape. Its slightly hand-drawn edge keeps the design simple beside her more geometric symbols and lettering.

The heart sits close to the hand, where it appears in ordinary gestures. There’s no need to add extra shading or decoration to make it readable.

Putting the collection together

Scale is one thread across Ayesha’s collection. Even the willow stays light, and the smaller pieces leave room for other designs without competing for attention.

Family runs through the tree, the children’s animal symbols and the matching tattoos with Stephen. “Faithfully” reflects her stated faith; the whisk points to her food work; and the pineapple is tied to a family gathering.

For inspiration, start with a detail from your own life rather than copying the willow or family animals. A tool, symbol or word can carry a personal reference without a long caption.

Ayesha’s designs stay small, but their references are specific: her children, faith, cooking and a pregame ritual with Stephen. The photographs show the ink; her own explanations give several of the pieces their context.

More celebrity tattoo guides

• Matty Matheson tattoos
• Tini Younger tattoos

Matty Matheson’s tattoos cover much of his body: eagles, flowers, crosses, lettering, portraits, animals and smaller oddities. The pieces don’t follow one matching style; they’ve accumulated over time.

His sleeves are dense, and a close photo won’t always show how each tattoo sits in the larger collection. This guide describes visible details and keeps reported meanings separate from what can be seen.

Matheson is known for food and television, and he also plays in the hardcore band Pig Pen. Revolver has written about the band and his tattooed sleeves alongside his work in music, cooking and clothes.

The right shoulder and upper arm hold an eagle, a nearby mask and snake, and a growling face below. Above the snake is a cross with the letters “TS” inside a heart.

The eagle spreads across the rounded shoulder; the mask and snake make a tighter cluster below it, and the darker face adds weight at the bottom. Each image has its own outline, so the arm reads as several connected pieces.

The shoulder and elbow turn as he moves, which changes what a photo can show. One angle gives only part of the composition.

The arm work and chest lettering

Another right-arm piece combines an intricate cross, a red eye and a daggered heart. The cross carries the letters “NNG”; a banner around the heart reads “SHAT”, according to the documented inventory.

The eye, heart, cross and dagger each pull the design in a different direction: a focal point, a curved shape, a vertical line and a sharp edge.

A daggered heart has familiar associations, but that doesn’t establish Matheson’s personal reason for getting it. The image confirms the shapes and placement, not a private story.

The rounded bicep gives the design a clear surface from the front. When the elbow bends, part of the image turns away.

The roses and script around his neck

On Matheson’s right forearm, an eagle sits above a rose, with chain detail and the letters “JS” inside it. The eagle and rose form the larger shapes; the chain closes the lower part of the design.

The forearm moves into view during ordinary gestures, so the piece is visible without needing to be shown off.

Eagles appear more than once in the documented collection, but their scale and surrounding details change from one placement to another. The repeated subject doesn’t read like a single logo.

Busy doesn’t have to mean cramped. Around this forearm piece, the skin between motifs gives the eagle, rose, chain and letters room to read.

The wide portrait of his upper-body ink

Matheson’s hands carry a butterfly on the left, small knuckle marks and finger lettering: “RIFF” on one hand, “RAFF” on the other. The documented inventory also includes “ENDLESS LOVE” and other letters and symbols.

The words break across separate fingers and come together when the hand opens. As the fingers bend, the lettering shifts with them.

The butterfly adds a lighter outline to the same area, beside the blockier finger lettering.

Hands are exposed to washing, friction, sunlight and constant movement. Small lines can soften, and a design that crosses knuckles may be difficult to touch up.

The full-body tattoo coverage

A Jesus portrait sits on Matheson’s upper arm, with red flowers beneath it. The face carries most of the attention; the flowers add color and follow the shape of the arm.

The upper arm gives the portrait room for its features, while the flowers soften its lower edge. Small changes to a face can alter its expression, so the reference drawing matters.

The portrait sits beside crosses and other faith-related imagery in the collection. The visible subject is clear, but the image alone doesn’t explain Matheson’s personal reason for choosing it.

The red flowers are the strongest color in an otherwise mostly black-and-gray group of tattoos.

Closing thoughts

On Matheson’s neck are the words “Defiant Hearts” and “The Outside Looking,” alongside a small cross, a heart and floral details around the throat.

Neck lettering is hard to miss: the words sit close to the face and can be more or less visible depending on a collar or open shirt.

The artist also has to account for how the skin turns when the head tilts. A phrase that looks balanced in a stencil may feel crowded once the neck moves.

The placement makes the words public, but it doesn’t tell us whether they are a private reminder, a statement or simply lettering Matheson liked.

A collection built for movement

Across Matheson’s arms, hands, neck and torso, the collection uses different styles and scales. It reads as a group of separate scenes rather than one continuous sleeve.

His work has moved through restaurants, television, cookbooks, online videos and music. The tattoos can sit alongside those different chapters without needing to represent just one job.

A close photo helps identify one design; a wider portrait shows how it sits beside the rest. The shoulder eagle, for example, reads differently once the neck and chest tattoos enter the frame.

A large collection doesn’t have to be finished in one style. Traditional portraiture, lettering and small hand pieces can coexist, with the wearer’s taste providing the connection.

How to borrow the useful parts

Matheson’s tattoos are useful as references for scale and placement, not as a list to copy. Look at how each image fits its part of the body and how much skin is left around it.

Decide how visible a tattoo should be before settling on the detail. A hand stays in view through daily tasks; a back piece is easier to keep private.

For lettering, keep reported readings qualified. One inventory links the hand design to “RIFF RAFF”, while not every photo makes each letter equally clear.

A final look at Matheson’s style

There isn’t one motif tying every piece together. The collection leaves room for traditional images, religious references, lettering and jokes to keep their own character.

Sarper Güven’s neck tattoo was hard to miss on 90 Day Fiancé: a large set of red lips linked to his relationship with Shekinah. He later said he wanted the tattoo gone, though he wanted to keep the memories from that time.

That leaves two separate questions: what he thinks about the relationship, and whether he still wants this particular design on his neck.

The red lips tattoo on Sarper’s neck

The large pair of red lips sits on Sarper’s neck. Inked reported that the design was modeled after Shekinah, making it personal before it reads as decoration.

Sarper connected the red with lips, love and passion. He also joked that red can signal danger, giving the bright color a second edge.

He said he chose his neck because he wanted people to see the commitment. On an upper arm, the same image could be more private; on the neck, it became part of his public image.

The bold shape and strong color help the design read quickly. Its placement also means it moves with his jaw and sits among beard lines, shadows and clothing.

Why the placement mattered so much

Neck placement brings attention, but it leaves the wearer less control over when others see the tattoo. That was part of Sarper’s choice at the time.

After the relationship changed, the same visibility began to tell a different story. A tattoo that once showed a commitment can become a reminder of the past, and a prompt for questions from people who know nothing else about the wearer.

If you’re considering a neck tattoo, check the design in a mirror at real size and with the clothes you wear most. If it’s tied to another person, ask yourself whether you’d still want it if the relationship changed.

That doesn’t make relationship tattoos a bad idea. Dates, initials, names and shared symbols can mark a moment that matters. A visible placement simply makes a private feeling public.

A relationship story made public

Sarper and Shekinah’s relationship played out on 90 Day Fiancé, where arguments, reunions and romantic gestures became part of the show. A neck tattoo from that relationship was never likely to stay a private keepsake.

Viewers saw the design alongside the relationship story, so its meaning in public changed as their story changed. The tattoo artist may have focused on line, color and placement; the audience also saw the person it represented.

Sarper has said he doesn’t regret loving Shekinah, while also wishing the tattoo had been smaller. Those can both be true: he can value the relationship and decide the bright neck design no longer suits him.

Removal, cover-up, or leaving it alone?

Sarper has talked about looking for specialists who can treat the red ink. The pigment, saturation, age and location all matter, so an experienced removal professional can assess the tattoo better than a social-media before-and-after.

He has also resisted rushing into a cover-up. The original tattoo is already large and visible; another heavy design might hide the lips but create a different problem. Red ink can also affect which colors or shapes will work. A cover-up is a redesign, not a quick way to erase the past.

Keeping the tattoo is another option. Some people come to see old relationship ink as a timestamp: “This happened,” not “This is still my life.” Sarper’s comments suggest he’s weighing the memory separately from the design.

If you’re facing the same choice, give yourself time before booking anything. Get a removal consultation and ask a tattoo artist what a cover-up would involve, then decide whether to remove, redesign or leave it.

Sarper’s next chapter

Sarper is known from reality television, but he has also presented himself as a fitness figure and stand-up comedian. That newer work gives the tattoo a different setting from the relationship that first made it famous.

He has said he wants audiences to see another side of him. The lips can now become a joke, a question or an awkward reminder of a decision he is still carrying.

The design itself is simple, but its impact comes from the red color, scale, placement and timing. Change any one of those and the tattoo would read differently.

For an artist, the practical question is what the client wants the tattoo to do: draw attention, stay under clothing, or work mainly as a personal image. Sarper’s choice was made to be seen.

A practical takeaway

A lips design can be adapted without copying Sarper’s neck piece. Smaller lips on an arm, shoulder, hip or chest would be less exposed; fine lines would feel lighter than a bold outline and packed color.

Choose placement to match how public you want the tattoo to be. If the design refers to another person, a shared color or object can keep the memory without making a portrait the only possible meaning.

Sarper’s tattoo shows that a sincere choice can become complicated later. That’s a reason to be clear about the size and visibility you want, not to avoid meaningful ink altogether.

The red lips remain one of Sarper Güven’s best-known tattoos. Whether he removes, reworks or keeps them, they have already made a private commitment visible.

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