Hannah Snowdon’s tattoos move between blackwork sleeves, small hand marks, dark chest designs and a larger back piece. The collection uses both dense black areas and open skin, with each design fitted to the part of the body it covers.

Snowdon is a tattoo artist, and she has spoken about her own work, including a cover-up on her back. The photos show different parts of the collection rather than one finished, matching suit.

Hannah Snowdon’s blackwork sleeve shows how her collection starts in the arm

Snowdon’s arm mixes dense blackwork with smaller lines, dots and open spaces. That contrast lets separate tattoos remain visible as the sleeve grows. The pieces are easier to read from a distance; close photos show the changes in texture.

The designs don’t form one continuous picture. They share dark ink and a similar graphic weight, while gaps keep the arm from turning into a single block. The placement matters too: a shape on the outside of the arm reads differently when the arm bends or turns.

The chest and neck tattoos build a dark geometric centre

The neck and chest sit close to the face, so their outlines draw attention. Snowdon’s designs follow the collarbone, sternum and neck instead of sitting apart from the body’s shape. Dark areas are balanced by open skin around the collarbone and shoulder.

Neck tattoos are difficult to hide and show up in most close portraits. The chest allows a broader composition, from the centre of the body toward the shoulders. Taken together, the two placements give the designs a more connected look than either area would have alone.

Hannah Snowdon’s hands and fingers carry tiny high-contrast details

Small marks on Snowdon’s hands and fingers appear as she reaches or gestures. They make a different impression from the larger arm designs because the hand is moving in most photos.

Hand skin is washed, rubbed and flexed often, so fine lines can soften sooner than ink in protected areas. Snowdon’s high-contrast details rely on clear shapes and space around them; they don’t try to reproduce the sleeve at a smaller scale.

Her back piece covers the old horseshoe with a larger design

Snowdon has said she covered an early horseshoe-and-roses tattoo with a larger piece on her back. The new work turns a small older design into part of a broader composition, planned around the ink underneath.

A back piece has room for larger shapes and darker areas than a wrist or forearm. In a cover-up, the artist has to account for the darkest parts of the old tattoo; those areas can become shadow or part of the new subject. The placement also lets the design stay covered by everyday clothes when Snowdon wants it to.

Black ink, dotwork and sacred geometry tie the collection together

Black ink gives much of Snowdon’s work its contrast, while dotwork and finer lines change the texture inside the darker forms. Those shifts let the eye move between a solid patch, a detailed area and bare skin instead of seeing one flat mass.

Geometric and architectural shapes add repetition and balance. They can look sharp or softened with shading, depending on their placement. Across the collection, the line quality and contrast link the pieces without making every tattoo follow the same subject.

Snowdon’s arm, chest, hand and back designs each use the space differently. The collection has a visual thread, but individual pieces keep their own shape and scale. That is what makes the work feel like a group of tattoos rather than one repeated pattern.

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Josh Mario John has a wide eagle across his chest, a tiger and snake over his stomach, and illustrated pieces down his arms. Flowers, faces and smaller symbols fill some of the space between them. The designs use heavy outlines, dark shading and strong colour, but each one has its own subject.

John, a Canadian model also known online as spizoiky, has said in a BASIC Magazine interview that he mostly likes how tattoos look, though a few smaller ones mean a lot to him. That leaves room for both personal pieces and designs chosen simply because he enjoys them.

Josh Mario John eagle chest tattoo

The eagle spreads across John’s upper chest, its dark wings reaching toward the shoulders. A flower sits above the bird, while red shapes and open skin frame the outer edges. The feather tips form a jagged outline; the gaps between them keep the black sections distinct.

Red adds colour without competing with the eagle’s head and wings. The broad shape fits the chest, and the smaller flower softens the top edge where the design approaches the neck.

Josh Mario John tiger and snake stomach tattoos

Below the eagle, an open-mouthed tiger fills the stomach, with orange and yellow tones around its face. A green snake loops over the tiger’s head. The animal faces give the torso a strong centre, and the black outlines keep its eyes, nose and teeth clear.

The snake’s curved body adds movement around the heavier tiger portrait. Its green scales separate it from the orange face. The interviews referenced here don’t establish a personal story for the pairing, so the visible composition is the clearest way to describe it.

Josh Mario John woman and wolf-head sleeve tattoos

One arm piece places a woman’s face below a dark, wolf-like head. Flowers and feather shapes continue down the sleeve. The portrait is a calmer focal point among the larger, darker forms around it.

John’s account here doesn’t identify the woman or attach a specific story to her. The photo shows a portrait, an animal-head shape, feathers and flowers; that’s enough to see how the different outlines and shading sit together. Open skin between denser areas keeps the sleeve from becoming one mass.

Josh Mario John eye and flower hand tattoos

An eye sits inside a flower on the back of John’s hand. The round centre and surrounding petals make a compact design, with red and green accents that also appear elsewhere in the collection.

His fingers carry smaller marks and lettering, though rings and the camera angle obscure some of the text. The flower-and-eye is the clearest hand design in the photos; there isn’t enough to read every other mark as a complete phrase.

Josh Mario John anchor and sailor torso tattoos

Beside the large animal pieces, an anchor carries a ribbon marked TRUE. A separate bearded face in a cap sits lower on the torso. The anchor’s long shape and curved ribbon fit into a narrower patch of skin; the portrait uses a smaller area near the waist.

There isn’t enough evidence here to identify the sailor-style face or claim it represents a particular person. These smaller traditional images add detail around the tiger without competing with it. Ricki Hall’s tattoos offer another example of this kind of bold chest and arm work, though John’s particular mix is his own.

What makes the whole collection work?

John’s tattoos cover a lot of skin, but the larger subjects stay easy to distinguish: the eagle on his chest, the tiger on his stomach and the portrait on his arm. Smaller flowers, lettering and the anchor use the spaces around them. Repeated outlines and colour connect the pieces without turning them into one continuous mural.

John has said he enjoys the finished tattoos more than the process of getting them. It is a plain account of collecting body art: the result can matter to you even if the appointment itself is uncomfortable. He hasn’t attached a deep explanation to every image, and there is no need to invent one.

The collection moves between pieces with personal meaning and designs he simply likes. That mix, along with the changes in scale from chest eagle to hand flower, gives the tattoos their character.

Daniel Bamdad’s tattoos mix large script with smaller illustrations. Hope runs across his chest above a shaded eye; a treble clef and music lines cover his throat; and his sleeves combine portraits, a robed figure, script and a web over one elbow. The ink continues onto his hands. Above one eyebrow, three small words read This is Art.

The German model has appeared in campaigns for DKNY and boohooMAN. His tattoos are part of his recognizable look, but each area has its own design and scale. Here’s what’s visible in the chest, neck, arms and hands, without assigning meanings he hasn’t shared.

Hope chest lettering and the eye below it

The word Hope crosses Bamdad’s chest in wide cursive letters. The thin, looping strokes leave open skin between the script and the surrounding tattoos. Near the shoulders, illustrated hands sit inside pointed decorative shapes. Below the word, a shaded eye sits between long feather forms that spread across the lower chest.

The eye’s dark pupil and iris stand apart from the looser chest lettering. Together, the upper illustrations, broad word and lower eye give the torso a clear center despite the dense sleeves beside it. Bamdad hasn’t explained the personal reason for Hope, so the word can stand on its own without guessing at a story.

Treble clef and music lines on his neck

A dark treble clef sits at the front of Bamdad’s throat, surrounded by musical staff lines that curve around his neck. The heavier symbol stays readable among the thinner marks, while the side view shows how the lines continue around the skin.

The throat design is narrower and more compact than the chest script. A small This is Art tattoo above his eyebrow is another contrast: the words fit into a short space, with bare skin around them. The music theme is clear, but the visible lines don’t identify a particular song.

Left sleeve figures and the elbow spiderweb

A robed figure holding a long staff fills the upper left arm. Farther down, a shaded woman’s face sits among the forearm work. A broad spiderweb crosses the elbow between them, its curved spokes following the joint.

The figure is drawn loosely enough to read as a person in a robe with a staff; there’s no confirmed name or story for it. The face uses softer shading, while the web supplies a bolder pattern. Ricki Hall’s tattoos show another model’s mix of separate sleeve designs, though the two collections have their own subjects and layout.

God Bless My Family on his right arm

The words God Bless My Family curve down Bamdad’s right arm in ornate lettering. A shaded rose sits near the shoulder, and long curls and flourishes fill the spaces around the script. The left sleeve centers on a figure and elbow web; this arm gives more room to lettering.

The phrase expresses a family connection, but doesn’t name relatives or explain more. Beside Hope on his chest, it shows two different uses of script: one short word spread wide, and a longer message worked around the shape of an arm.

Hand tattoos and the mechanical face

A compact mechanical-looking face sits on the back of Bamdad’s left hand. Two round eyes and horizontal lines that resemble a mouth grille give it a playful, almost robotic look. Smaller marks and dots fill parts of the hand, with symbols continuing toward the fingers.

The hand work carries the sleeve past the wrist, but the little face has its own shape rather than repeating the larger portraits and script. Bamdad’s collection moves between broad lettering, fine shading and simple symbols; the shifts in scale keep the densely tattooed areas distinct.

The REVOLT fashion film features Bamdad wearing Tom Rebl designs.

Stephen James’ tattoos include a red lotus at his throat, portraits across both arms, patterned torso work and a large skull on his back. The British model and former footballer has described different themes for his sleeves: British references on the right arm and Salvador Dali-inspired work on the left. His first tattoo was a Star of David on his right elbow, done in Prague.

The red lotus and patterned neck tattoos

A red lotus spreads across the front of James’ throat. Pale edges and warmer shading near the middle separate the petals, which are outlined in black. Repeated shapes and curved lines cover the sides of his neck, rising toward the hairline and meeting the ornamental work on his upper chest.

The broad petals are easy to see first; the side patterns take longer to pick out. James hasn’t given a clear personal explanation for the lotus in the interviews referenced here, so its color and placement are the surest details to describe.

The British portraits and Dali arm tattoos

James has said his right arm carries British references, while the left draws on Salvador Dali. In a Vogue interview, he named musicians Morrissey, Robert Smith, Siouxsie Sioux and Ian Dury, describing them as “the music I listened to growing up.” Big Ben appears among the right-arm portraits as another British subject.

The left sleeve has a looser, surreal look, though that doesn’t make each image a specific Dali painting. Both arms use portrait shading, but their subjects give them different themes. Lighter areas and gaps keep the faces and shapes apart as the sleeves wrap around his arms.

The ornamental chest and stomach tattoos

James’ torso uses ornament rather than the portraits and landmarks on his arms. Curves, loops and repeated borders spread across his chest. Below them, a large face-like design on his stomach has an exaggerated mouth, exposed teeth and a long tongue reaching toward the waist.

Dark fills and open skin alternate around the shapes. The mouth is the clearest feature, while the exact identity or meaning of the torso image isn’t established in the interviews referenced here. It’s safer to describe the visible design than name a figure without evidence.

The head patterns, hand portrait and finger symbols

The shaved sides of James’ head reveal repeating patterns above and behind his ear. Some shapes are pointed, others rounded; they continue into the neck work. The longer hair on top leaves a clear border around the shaved section.

A portrait covers the back of his left hand. Smaller marks sit on the fingers, including a six-pointed star, individual letters and curling symbols. The hand brings a picture and fine linework into a smaller space, but there isn’t a confirmed meaning for every mark.

The oversized skull back tattoo

A large skull fills James’ back. Deep black eye sockets and a dark nose cavity sit above a wide row of outlined teeth. Curved flourishes frame the brow, with a decorative line running down the forehead and nose. Above the skull, a pointed geometric section spans his upper back; its straight divisions contrast with the rounder features below.

For another approach to skeletal imagery, Rick Genest’s tattoos carry the subject across the face and body, while James keeps the large skull on his back. To see James during a tattoo session, watch the video from his own channel below.

Jimmy Q’s tattoos include a small skull by his right wrist, a bold arrow on the same forearm, a tiger across his stomach, and a red-scarf portrait on his left arm. Fine lettering runs across his fingers. The model, also known as James Quaintance, grew up in Venice Beach, where he apprenticed as a tattoo artist after starting out drawing. He also skateboarded before moving into London fashion work.

The skull tattoo just above his right wrist

A small skull sits on the front of Jimmy’s right forearm, just above the wrist and the larger arrow. Uneven dark eye sockets, a solid nose and a short row of teeth give it a simple, almost playful expression. The pale center keeps the face clear among the surrounding ink.

Skulls can carry different meanings, but Jimmy hasn’t explained this one. The photo gives us its rounded outline and dark features; it doesn’t establish a story about loss or mortality.

The oversized arrow tattoo on his right forearm

A thick outlined arrow runs down Jimmy’s right forearm, pointing toward the wrist. Its broad head and long shape take up a large stretch of the arm, while lighter space and smaller marks break up the center. It stands apart from the surrounding portraits and lettering, which have softer, more irregular outlines.

The direction is visible, but it doesn’t confirm a message about ambition or progress. What makes the piece easy to recognize is its scale and strong border.

The snarling tiger tattoo across his stomach

A tiger stretches across Jimmy’s stomach, below a separate animal face higher on his chest. Pointed ears, wide eyes, striped cheeks and an open mouth give the lower piece its expression. Dark lines mark the cheeks and muzzle without filling the whole face in black, leaving the teeth and lighter areas distinct.

The tiger’s cheeks spread across the abdomen, making it a broad image rather than a narrow vertical portrait. Jimmy hasn’t shared a specific meaning for it, so the visible expression and linework are the clearest details.

The red-scarf woman portrait tattoo on his left upper arm

A woman’s face sits inside a red head covering on Jimmy’s left upper arm. The cloth trails down beside her face, while flowers and leaves fill the space around it. A small crescent mark near the forehead and the dark hair give the portrait a few details that stand out against his skull and arrow tattoos.

The figure is an unidentified portrait; there’s no confirmed name or story for her. Red cloth sets the face apart from the surrounding flowers and gives the design its strongest color.

The lettering and linework tattoos on his fingers

Small letters and thin angular lines run across Jimmy’s fingers, with darker marks near the knuckles. Rings cover parts of the close-up, and the bent fingers turn some of the ink away from view, so the marks don’t read as one complete phrase.

The fine lines contrast with the skull and arrow’s heavy borders. Ricki Hall’s tattoos offer another look at how smaller hand designs can sit beside a larger collection. To see Jimmy’s tattoos with his modelling work, watch The Thiiird by Horiyoshi III below.

Kevin Creekman’s tattoos combine bold blackwork with large shaded images. A seed-of-life pattern sits at his throat, a skull covers his stomach, and a samurai-Oni mask spans his back. Flowers and geometric circles cover his hands; curved black panels run down his legs. Creekman has said that some tattoos carry personal meaning and others are there because he likes the artwork.

Seed of life and blackwork neck tattoo

A pale geometric flower sits at the front of Creekman’s throat, surrounded by thick black shapes and patterned panels that climb the sides of his neck. He told OTSMagazine that tattoo artist Gerhard Wiesbeck began with a seed-of-life pattern at the center and built out the design freehand. Creekman connected the flower and patterns loosely with his spiritual outlook, rather than assigning a separate meaning to every part.

The light center stands out against the dark collar. Smaller repeated shapes fill the panels toward his jaw, so the design changes in scale as it wraps around the neck.

Oversized skull tattoo across the stomach

A shaded skull covers most of Creekman’s abdomen. Pale bone forms stand out against dark eye sockets and nose; curved teeth and mottled textures keep the face from looking flat. Tattoo artist Neon Judas made the piece. In an interview with Tattoo Life, Creekman said the skull’s uneven shapes helped disguise scars from skin-removal surgery.

That practical reason sits alongside the artwork itself: the skull is large enough to read as one image, with changes in texture around the eyes and jaw.

Samurai and Oni mask back tattoo

Creekman has described his back piece as a blend of a samurai mask and an Oni mask, tattooed by Olli Lonien. Narrow eyes, a long nose and a wide grin give the face its expression. Curved shapes above the eyes create an armored feel, while dark shading around the mouth makes the teeth stand out.

The mask spreads across his shoulders and down toward the waist. Lines and cloudlike forms extend into the shoulder areas, linking the back piece to the surrounding ink without covering it in one solid field.

Flower and geometric tattoos on the hands

Flowers with dark outlines sit on the backs of Creekman’s hands, each with a small circle of overlapping lines at its center. The lighter petals contrast with the shaded sleeves behind them. He has singled out Mike Wolf’s hand tattoo as one of his most distinctive pieces.

The circles echo the geometry at his throat, though the hand designs stay contained between wrist and knuckles. Creekman hasn’t given a public meaning for every detail, and the repeated shapes don’t need to be treated as a code.

Bold blackwork leg tattoos and open-skin patterns

Broad black panels sweep down Creekman’s leg, separated by pale curved channels. In the same photo, the other leg shows more illustrative detail. He told OTSMagazine that having his neck and legs tattooed in blackwork helped him fall for the style.

The open lines bend around his knee and continue down the leg, giving the pattern direction while leaving the large black areas distinct. Together with the collar and hand designs, the leg shows how much of Creekman’s collection relies on the contrast between heavy fill and exposed skin.

Creekman discusses his life and work in this conversation with Sippin’ The Tea.

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Mateus Verdelho’s tattoos run from large skulls, flowers and a sailing ship to smaller marks on his hands, head and neck. The Brazilian model and DJ has said he grew up around skateboarding, tattoos, rock and rap, and wanted a heavily tattooed body from a young age. He told an interviewer that agencies tried to discourage him, but he continued adding to the collection.

His count has changed with time. In 2011, he estimated about 50 tattoos, noting that some had blended together. By a 2022 interview with Lorena Magazine, he put the total above 100. He also said some tattoos mean something to him and others are there for their style. The photos below show earlier stages of the collection.

The skull, roses and flame details on his right sleeve

A large skull with deep eye sockets and exposed teeth fills Mateus’s right upper arm. Long curling lines extend around it. Below, a flame-like shape sits above a broad rose near the elbow and forearm. Smaller stars and marks fill gaps between the larger images.

The black-and-white view makes the outlines and shading easy to compare: the skull stretches along the upper arm, while the rose turns around the elbow. Mateus said in a 2011 Glamurama interview that a red skull was his favorite tattoo, though he didn’t identify this particular skull as that piece.

The sailing ship and surrounding tattoos on his left arm

A sailing ship fills the center of Mateus’s left upper arm. Tall masts rise above the hull, with thin rigging lines crossing them and larger pale sails inside the darker outline. Curved, cloudlike forms sit nearby, while stars and smaller marks continue down the arm.

The ship is a clear focal point among the surrounding tattoos, though Mateus hasn’t said it represents travel or a particular event. Its narrow masts and broad hull also give the arm a different arrangement from the skull-and-rose sleeve on the other side.

The illustrated faces and lettering on his hands

Both hands carry large illustrated faces, with separate letters across the knuckles. One face has an open mouth and a dark frame that may read as hair or fur. The lettering is split across the fingers, and rings and the angle make it difficult to read as one word in this photo.

The hand portraits connect to the sleeves but remain distinct images. For another mix of hand ink and larger pieces, Johnny Depp’s hand tattoos provide a comparison; the crow on Depp’s hand has a different shape and scale.

The diamonds and small symbols beside his ear

A large outlined diamond sits above a smaller faceted gem behind Mateus’s ear. A small star lies nearer the hairline, while a crossed shape and tiny palm-like mark lead down toward a larger neck portrait. The details form a trail from the shaved side of his head toward his neck.

The gems are outlined drawings with bare skin inside; the upper diamond is wider than the lower one. Their shape doesn’t establish a personal meaning. In this close-up, the spacing and crisp edges are the clearest details.

The woman’s profile tattoo on the side of his neck

A woman’s profile fills the other side of Mateus’s neck. Dark hair frames her face; a hoop-shaped detail sits beside it, and red and green lines extend below toward the base of his neck. The face points toward the front of his body, with the hair filling the space nearer the ear.

Her identity hasn’t been confirmed. The portrait is visible on its own above a shirt collar, while the red and green shapes give the lower edge a little color.

A few quick answers

How many tattoos does he have? Mateus estimated about 50 in 2011 and more than 100 in a 2022 interview. Those are dated estimates, and he has said some designs have joined together over time.

Does every tattoo have a meaning? No. He said some are meaningful and others are about style. In 2022, he described the Pharaoh’s Horses back piece he was working on: the three horses represented him, Shantal and Pippo. He joked that he’d need to add another little horse for Domênica.

What ties the collection together? Large illustrated subjects sit alongside smaller marks and black outlines, but there isn’t one theme for every piece. Mateus discusses tattoos and piercings in this Nosso Canal interview, first released in 2014.

Laurence Bédard’s tattoos range from a pale flower on her hand and a clock in her sleeve to an elephant on her thigh, a snake-and-skull stomach piece and a vintage microphone. The Canadian model, known online as Lolobe4, mixes bold outlines, red flowers and softer shading. She has said that some tattoos have personal meaning and others are there for their style; the five designs below are easy to describe from the photos.

The large flower tattoo on her hand

A broad-petalled flower covers the back of Laurence’s hand. Its center is densely marked, while the petals stay pale and open. Pointed leaves reach toward the wrist and knuckles, giving the design a wider outline than the flower alone.

The contrast between the dark center and lighter petals keeps the bloom distinct from the busier sleeve above it. The hand placement also brings the flower near her face when she raises her arm; with her hand lowered, it meets the rest of the sleeve.

The clock tattoo in her forearm sleeve

A round clock face sits among flowers and curved lines on Laurence’s forearm. The pale dial has darker hour marks and hands, framed by a decorated outer edge. Its circle interrupts the sleeve’s winding shapes without feeling separate from them.

The time isn’t clear enough in this photo to read as a date or personal reference. What stands out is the lighter dial against the color and shading around it.

The elephant tattoo on her thigh

A forward-facing elephant head runs down Laurence’s thigh. Its wide ears frame the face, and the trunk forms a long central line toward the lower leg. Lighter tusks stand apart from the darker folds and shading around the forehead.

Layered ornamental shapes spread around the animal like a border. Those details frame the elephant, but the trunk and face remain the main focus. The image alone doesn’t establish a personal meaning for the animal.

The snake, skull and rose tattoos across her stomach

A snake winds around a skull between red roses on Laurence’s stomach. Its body curves through the lower shapes, while the skull’s dark sockets and pale bone contrast with the scales and petals. Large script sits separately above the scene.

The red roses break up the darker snake and skull, and each subject has a different outline. The design is busy, but the snake’s curve gives the eye a path through it. The image doesn’t confirm a particular story about the animal, skull or flowers.

The vintage microphone tattoo on her inner upper arm

A vintage microphone sits on the inside of Laurence’s upper arm. Rows of horizontal grille bars make the head look like an older stage or studio model, and decorative curves frame its dark outline. The raised-arm pose shows it clearly; with her arm down, the design sits inside the sleeve.

The repeated bars look different from the softer flowers and shading nearby. The microphone may suggest music, but the image doesn’t establish why she chose it. For another approach to darker coverage, Monami Frost’s blackwork tattoos offer a comparison with Laurence’s warmer color accents.

The Freeway portrait film below shows Laurence on camera; it’s a modeling portrait rather than an explanation of her tattoos.

Levi Stocke’s traditional tattoos cover his arms from shoulder to wrist. The sleeves mix a green skull, red flowers, dice, eyes and a striped tiger, with thick outlines and solid color that keep each image distinct.

He told Inked in January 2026 that his interest started when he saw his great-uncle’s Navy tattoos as a child. Stocke also recalled an early winged-dice tattoo that was later covered by a Rock of Ages back piece. That history speaks to his taste in classic imagery, but it doesn’t tell us what every design means to him.

The green skull, red flower and checkerboard sleeve

A green skull sits inside a large red flower on Stocke’s upper arm. Dark sockets and teeth give the face definition, while broad red and orange petals open around it. The cool green against the warm flower makes the skull the first thing you notice.

Lower on the arm, a black-and-light checkerboard cuts across the rounded flowers and curling lines. Its straight edges give the eye a break from the curves and lead it toward the wrist. The pattern is simple, but it helps vary the sleeve.

People may read a skull and flower as symbols, but Stocke hasn’t shared a specific meaning for this design. What’s visible is the contrast between the hollow face and soft petals. Both images also have enough room to read clearly; smaller versions would lose some of that detail.

The framed eye and dice on his forearm

An eye sits at the center of an ornate frame on Stocke’s outer forearm. Its curled border echoes the neighboring shapes, while the dark pupil draws focus. The result is easy to read without needing to assign it a religious or hidden meaning.

Near the wrist, dice add hard edges and small, evenly placed dots. They contrast with the eye’s flowing frame and make the lower sleeve feel less uniform. Stocke has said his first tattoo was winged dice, later covered on his back; that doesn’t establish that the wrist dice are the same design.

The forearm placement keeps both motifs visible in relaxed poses, even when a short sleeve covers the upper arm. They’re substantial images, but they don’t need the space of a chest or shoulder piece.

The bold eye and heart tattoos at his elbows

A rounded eye marks one elbow, and a red heart crossed by a dark line sits on the other. Both have strong central shapes that stay recognizable as the joints bend. They give the densely detailed sleeves a couple of clear stopping points.

The elbow eye differs from the framed one on his forearm: it uses the rounded joint as part of its shape, while the smaller eye sits within a border. The heart and cross may suggest religious imagery to some viewers, but Stocke hasn’t explained why he chose it.

The two arms share thick outlines and a mix of dark and bright color without mirroring one another. The neckline also shows more traditional color below his beard, while the elbows remain the clearest features in this raised-arm view.

The inner-arm hand design and wrist flower

A large hand-shaped image runs along the inside of Stocke’s forearm, its long fingers pointing toward the elbow. Dark shading around the lighter form keeps it distinct from the busy sleeve. It can be hard to see in a straight-on pose and becomes clearer when he lifts or turns his arm. It’s a tattoo of a hand, separate from the one raised near his hair.

On the opposite wrist, a layered flower carries the sleeve toward the hand. Its pointed petals have dark edges that stand apart from the surrounding ink. Narrow lettering on the hand changes the look again: it’s finer and more open than the colored images above it.

The hand, flower and script use different kinds of line, so the area doesn’t read as one crowded block. Each has its own shape, while the wrist flower helps connect the sleeve to the hand.

The roaring tiger on his upper-arm sleeve

A striped tiger’s head fills another part of Stocke’s upper arm. Its open mouth, pointed teeth and lighter muzzle stand out against the dark stripes and surrounding color. The face follows the curve of the arm and remains easy to recognize without showing the whole animal.

Viewers may associate a tiger with strength or aggression, but Stocke hasn’t said that’s why he chose this one. He has explained the meaning of a different tattoo: a shark on his leg with the words Stay Afloat, which he connected to finding his way through life in Los Angeles. That example offers some context for his approach without assigning meanings to the rest of the sleeve.

The tiger, like the skull and flowers, is detailed enough to stand on its own and still fits into the larger sleeve. The Windsor Smith campaign film below shows the tattoos in motion.

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Becky Holt’s tattoos range from gothic forehead lettering to fine facial ornament, dark neck work, open chest linework and colorful designs across her back. The changes in style are easy to see across her head and upper body.

In a 2018 interview, Holt said she couldn’t count her tattoos and had wanted extensive coverage. Some individual images now meet or flow into larger areas, which makes an exact count hard to pin down. This look at five parts of her collection starts with the lettering above her brows.

Forehead tattoo: We Could Be Heroes

The words We Could Be Heroes run along Holt’s hairline in dark gothic lettering. She has said the phrase refers to David Bowie’s song Heroes and connects to moving forward through difficult periods. She got the tattoo in early 2018 from Kingsley Hayward at Lowrider Tattoo in London; she said the session took about two hours.

In the over-the-shoulder photo, the script follows the curve of her forehead. It forms a horizontal line, while the pointed petals beside her eye spread outward. The two designs sit close together, but the open brow between them helps keep each one distinct.

Face tattoos: pointed petals beside the eye

A layered floral design wraps around Holt’s temple, extending toward her ear and jaw. Fine outlines divide the pointed petals, with dark shading inside and small touches of red. From a distance it reads as one ornament; up close, the separate shapes become clear.

The petals end in individual tips rather than a straight border. Some point toward the hairline and others toward the cheek, where there’s more open skin. Smaller marks sit near the ear, but Holt hasn’t given this floral piece a specific meaning. Its placement and detail are visible without guessing at one.

Neck tattoo: black pattern with open diamond shapes

Black shading covers much of the side of Holt’s neck, broken up by lighter lines that form a loose diamond grid. Toward the front of her throat, the pattern meets a central ornament beneath her chin, with pointed edges and curling details. Smaller floral marks sit near the jaw.

In the side view, the pale channels follow the curve of her neck and lead down toward the chest tattoo. They leave room between the darker blocks, so the design doesn’t turn into one solid patch of black. The face petals use much finer detail; the neck pattern works with broader shapes and gaps.

Chest tattoo: flowing ornamental lines

Holt’s upper chest has an ornamental design that spreads out from the middle. Long curves, pointed leaf-like forms and small curls travel toward her shoulders and collarbones. A downward-pointing shape anchors the center, while clear skin shows between the lighter lines and shading.

The photo cuts off the lower edge beneath her clothing, so only the upper portion is visible. What it does show is the contrast with the dark neck tattoo above: the chest relies on open space and fine outlines instead of heavy blocks. Colorful arm work sits nearby, but the chest design keeps to a mostly dark palette.

Back tattoo: pink flowers and colorful illustration

Pink flowers sit among dark outlines and larger colored forms across Holt’s upper back, with the design continuing lower down. Small blossoms cluster near the shoulders; larger red shapes and curved lines fill more of the area beneath them. The change in scale helps the flowers stand out.

Her colorful upper-arm illustration appears beside the back piece in the photo. Both use dark outlines, though the arm has its own subject and background while the back spreads out into a broader arrangement. Her pose and clothing straps hide part of the center, so the full image and any specific meaning can’t be established from this view.

The back uses more color and shading than the fine chest lines. Holt’s INKED tattoo tour below lets her describe her tattoos in her own words.

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