Ricochet’s tattoos are hard to miss, especially the color on his left arm and the large pieces across his chest. The designs have bold outlines and plenty of detail. They suit a wrestler who’s usually seen under bright lights and in motion, where a tattoo needs to read quickly.
His ink mixes traditional color, black outlines, script, and smaller images that sit close together. It looks assembled over time rather than planned as one seamless sleeve. A dragon-like chest design, swirling shapes, lettering, and smaller marks all have their own place, yet the arm still reads as a whole when he’s moving through the ring.
Different photos show different things. A posed portrait brings out the color and linework; a ringside shot shows the sleeve shifting with his shoulder; a close-up makes the chest script easier to see. Taken together, those views give a better sense of the tattoos than one standard portrait would.
The sections below look at the main parts of Ricochet’s style and what you can take from them if you like colorful sleeves, visible lettering, and tattoos that connect without looking overly coordinated.
The full left-arm tattoo sleeve does the heavy lifting
The left arm is the first thing many people notice. Ricochet’s sleeve isn’t a solid sheet of blackwork; it has distinct sections, with color and shading linking the larger outlines. Warm reds and oranges sit alongside greens and blues, while darker areas keep the colors from fading into the skin under arena lights.
The palette has a traditional feel, but the coverage follows the whole arm. The shoulder, upper arm, elbow, and forearm each contribute to the design. From across the ring, the sleeve reads as one strong shape; up close, you can pick out separate images and textures.
Flow is the part to pay attention to. If you’re planning a sleeve with similar energy, think about how each tattoo leads into the next. Neighbouring pieces don’t need the same subject. Repeated line weight, a related palette, or similar background shading can bring them together.
Even a heavily tattooed arm needs some open skin. Those gaps give the larger shapes room and keep the whole sleeve from closing into a dark blur. When planning a colourful design, leave space where it helps the main images stay clear rather than filling every patch of skin.
The chest tattoo gives Ricochet’s look a clear focal point
The chest gives the layout an anchor. A large coloured piece sits high on the left side and reaches toward the shoulder, somewhere between a shoulder panel and a chest tattoo. It’s visible when Ricochet wrestles shirtless and can peek out from open ring gear, making it part of his familiar look.
The design follows the chest and upper arm instead of sitting like a rectangle on top of them. Its curves move with the body, and the shading adds depth without a hard border. That’s a useful reminder for any large tattoo: plan the image around the body, not only around how it looks on paper.
The saturated colour also stands out against the skin around it. The piece doesn’t need a full background to hold attention; its outline and shifting tones do that work. For a large chest tattoo, it can help to choose one main image, give it a clear edge, and let the surrounding skin frame it.
Placement changes the feel of the design too. The same image on a forearm might feel contained. Across the chest and shoulder, it takes up more space and feels tied to performance.
The script across his chest adds a softer layer
A sweeping script piece sits beside the larger chest design. Its flowing letters soften the heavier lines and dense colour on his arm. The script follows the curve of his chest, giving the eye somewhere to pause among the larger shapes.
Lettering needs room to stay legible as it follows the body’s contours. Here, the phrase is large enough to read and isn’t squeezed into a narrow spot or lost in the sleeve. The open area of the chest gives each letter space, and the curved line feels at home there.
Good lettering needs breathing room. If a phrase matters to you, don’t make it so small that the words become hard to read just to fit a preferred location. A comfortable size gives the lines more room and makes the text easier to see in photos over time. It also lets the words feel like a deliberate part of the tattoo collection.
The script adds a personal, text-based note to a look mostly made up of large images. That contrast is useful if you like bold tattoos but want one quieter element among them.
A full-body angle shows how the arm sleeve travels
The wider view makes the placement easier to follow. In ring gear, you can see the ink run from the shoulder toward the elbow and forearm, wrapping around the arm instead of sitting on one flat, front-facing side. The designs come into view as Ricochet turns or reaches.
That wrap changes what the audience sees as he moves. A tattoo placed only on the front can disappear when an arm turns; a design that continues around it offers different details at different angles. The sleeve feels active because it moves with his stance rather than sitting like a sticker on the skin.
You can try the same check before settling on a design. Look at the stencil with your arm relaxed, raised, bent, and turned sideways. Notice where the main image sits in each position. If it works from only one angle, you may want to adjust the focal point or let the design wrap farther around.
The wider photo also shows the sleeve alongside different looks. It works with colourful ring gear, dark clothes, and simple shirtless portraits. The outlines and overall shape give it structure even as the styling changes.
The older arm tattoos still read clearly in the ring
Ricochet’s arm tattoos have been visible in motion for years, not just in close-up studio portraits. They have to hold together as he runs, climbs, flips, and lands. The larger shapes are distinct enough to register even when the camera is farther away.
Harsh light can make older tattoos look softer, but the main outlines are still easy to follow in these images. Patches of colour also separate the designs from each other. That makes contrast worth considering if you want a tattoo people can recognize from a distance.
A detailed tattoo can still be easy to read. The key is how the darkest lines, brightest areas, and overall shape are arranged. Ricochet’s arm has several elements, but they don’t all compete for attention at once.
If you’re adding to a sleeve over time, start with the piece that matters most to you and leave room for the next one. Thinking about scale and direction early can help later additions sit naturally beside it.
The color work keeps the sleeve from feeling flat
Colour helps separate the shapes in Ricochet’s tattoos. Greens, reds, and blue-grey shadows give the sleeve depth, and the black outlines hold the edges in place. That contrast matters in a full-colour piece, since skin tone, lighting, and camera exposure can all affect how it looks.
The chest piece shifts in mood with the photo. Under darker arena lighting, it looks gritty; in a clean portrait, it feels more illustrative. The palette gives it range without needing a filter or heavy editing.
If you like this kind of work, ask your artist how the colours will sit together once the tattoo has healed. Fresh ink may look brighter than settled colour. A considered palette can use a few anchor shades, some open skin, and enough dark contrast to keep the design legible. A sleeve doesn’t need every colour available to feel rich.
Bright areas draw the eye, while darker shading can support the shape around them. That difference in emphasis helps a busy sleeve feel considered.
What Ricochet’s tattoo layout can teach about placement
Ricochet’s tattoos show how different scales can share space. The arm sleeve is the largest group, the chest pieces give the upper body another focal point, and the script adds a different rhythm. They work together without forcing every design into one theme.
It helps to choose a starting point. If the upper-arm piece matters most, let it guide the direction of later tattoos. If you care most about the lettering, leave enough open space around it. For an old-school sleeve, decide which outlines and colours you want to repeat before adding smaller filler designs.
Think about how visible you want the tattoos to be, too. Ricochet’s ink is on show during a match, which fits his work and public image. You can use similar design ideas on a shoulder, thigh, back, or ribs if you’d rather choose when people see them.
The strongest tattoo collections feel lived in. They carry a person’s taste and history, and they can change over time. Ricochet’s tattoos are colourful and confident; the body connects them, but they don’t look as if they came from one matching catalogue page.
His ink is a useful reference without being a template to copy: a bold main image, a sense of movement, text with enough space around it, and colours that hold up in different light. Start with an idea that matters to you and let the rest take shape around it.