Emma Chamberlain has said she prefers small, personal tattoos that she’s less likely to regret. Most sit across her arms as separate line drawings, with space between them rather than a single sleeve.
Vogue filmed Chamberlain talking about several pieces. My Imperfect Life also gathered details from her, her tattoo artist and a GQ video with Tucker Pillsbury. The meanings below stick to those explanations; a blurry photo doesn’t tell us what an unclear mark is meant to be.
Emma Chamberlain’s arm tattoo collection
Her tattoos include a little car, a lighthouse, paintbrushes, the number 11, a squirrel and other small designs. Chamberlain has connected her right arm to her dad, who is a painter, and her left to her mom. The family references include paintbrushes, a button, a pine tree, a horseshoe and a stamp-like design.
The fine black outlines and open space give the pieces a patchwork look. They don’t need to match because the family references connect them.
The stuffed bunny tattoo
Chamberlain showed a small stuffed-bunny tattoo in Vogue’s “24 Hours With” video and said it was based on the toy she had as a child. Her tattoo artist’s close-up shows the fine-line drawing and another small figure nearby.
The bunny has a clear outline and a few simple facial details. It reads as a remembered toy without needing extra decoration. At this scale, an artist can help simplify a reference so the lines have room to age.
The car, lighthouse, and paintbrush tattoos
A close-up of Chamberlain’s arm shows several small drawings together, including a car, a framed lighthouse and paintbrushes. The car and brushes have a family connection: she has linked the car to her dad and the brushes to his work as a painter. The lighthouse sits inside a small rectangle, like a stamp or miniature picture.
These designs are simple enough to read without filling the arm. With small illustrations, keeping only the clearest details can make the subject easier to recognize.
The number 11 and family symbols
The number 11 has been described as a matching tattoo connected to Pillsbury, who performs as Role Model. The digits are easy to see; the relationship behind them comes from the reported context, not the photograph alone.
Chamberlain has also explained that other small designs refer to family, nicknames and objects from childhood. A button, pine tree or horseshoe can work as a personal reference without spelling out the story to everyone who sees it.
A red-carpet view of the style
This Vanity Fair event portrait is included for context, not as evidence of a particular tattoo. Its crop and clothing don’t provide a clear view of a design. A close-up can show the ink; a red-carpet photograph can show how the tattoos sit with an outfit, but the two kinds of images answer different questions.
Chamberlain’s collection stays light because the designs are small and spaced apart. Some show in sleeveless or rolled-sleeve looks, while others may be covered. There’s no need for every tattoo to appear in every photograph.
The useful idea to borrow is choosing a reference with a real connection before deciding how to draw it. Bring the artist a few clear examples, talk through the size and placement, and leave enough room if you want to add more pieces later. The bunny, car and family symbols are personal details first; their small scale is part of the style.