Billy Bernert x Vault Editions: Artist Interview
Tattoo artist, illustrator, and printmaker Billy Bernert is known for his blackwork and engraving-inspired tattoos. His practice channels the aesthetics of old woodcuts and copper engravings, drawing on the legacy of Albrecht Dürer and his contemporaries from the 15th century. Working from his studio, Sulphur Tattoo, in the German countryside, Billy captures and reimagines the visual power of the Old Masters while weaving in modern influences. His practice spans disciplines, from bold, one-off tattoo designs to illustrations and woodcuts he carves and prints himself, all rooted in the tradition and texture of historical printmaking.
Vault Editions caught up with Billy to talk about his influences, his process, and the philosophy that underpins his approach to tattooing and art.
Tattoo by Billy Bernert, Sulphur Tattoo, Gunzenhausen, Germany
Hi Billy, you’ve been tattooing since 2009. Can you give us a little background on your career so far, and what led you to open your own studio, Sulphur Tattoo?
Hi, first of all, thank you very much for the interview! Like you said, I started tattooing in 2009,
I had a traditional apprenticeship in a tattoo studio in Nuremberg, and worked there for 5 years. I wanted to move away from a walk-in, public studio, so I opened my own studio together with my wife in 2013, also in Nuremberg. Since we both are from a small town 50km from Nuremberg, we decided to move back here to the countryside 3 years ago. Luckily, our customers also travel here; it’s a small town, and not very busy, but it’s nice to live here. Next step will be a private studio on our little farm we just bought, but that’s future plans for next year or so.
Hi, first of all, thank you very much for the interview! Like you said, I started tattooing in 2009,
I had a traditional apprenticeship in a tattoo studio in Nuremberg, and worked there for 5 years. I wanted to move away from a walk-in, public studio, so I opened my own studio together with my wife in 2013, also in Nuremberg. Since we both are from a small town 50km from Nuremberg, we decided to move back here to the countryside 3 years ago. Luckily, our customers also travel here; it’s a small town, and not very busy, but it’s nice to live here. Next step will be a private studio on our little farm we just bought, but that’s future plans for next year or so.
Tattoo by Billy Bernert, Sulphur Tattoo, Gunzenhausen, Germany
You’ve cited Albrecht Dürer as an influence. What draws you to his work, and does the fact that you both worked in Nuremberg give that influence an extra layer of meaning for you?
Yes, Albrecht Dürer is the main influence, but the style of late gothic artwork in general has a great appeal to me, because it is still heavily grounded in medieval superstition and mystical aura, but stands at the beginning of modern times. I think it’s also the admiration of this bold yet elegant linework of woodcuts and engravings that keeps me very interested in this style, you will always find new details in a print you might have seen many times before. It never gets boring, for me at least.
Yes, Albrecht Dürer is the main influence, but the style of late gothic artwork in general has a great appeal to me, because it is still heavily grounded in medieval superstition and mystical aura, but stands at the beginning of modern times. I think it’s also the admiration of this bold yet elegant linework of woodcuts and engravings that keeps me very interested in this style, you will always find new details in a print you might have seen many times before. It never gets boring, for me at least.
The fact that he and his contemporaries lived so close by is very humbling and it gives me the feeling of continuing or working from something that was started a very long time ago and is much bigger than myself.
The fact that the work of printmakers and designers was considered a craft is also very appealing to me, just like tattooing, it requires a set of skills that you have to perform and not just talk about.
Tattoo by Billy Bernert, Sulphur Tattoo, Gunzenhausen, Germany
Tattoo by Billy Bernert, Sulphur Tattoo, Gunzenhausen, Germany
Drawing is central to your practice. How does your approach differ when you’re working on skin, wood, or paper?
Drawing definitely is the groundwork for everything I do, be it for a tattoo for clients or just mindlessly doodling for myself. I aim to keep the same look, independent from the medium, but skin, paper or wood have their very own limitations and restrictions that I have to consider. But the drawing process is always the same, it gets more specific depending on what medium I will use the design for.
Tattoos cannot be too detailed, since the skin is a living and breathing canvas, you have to consider the changes a tattoo undergoes in 20 years with lines getting bolder and losing a bit of sharpness over the years. Illustration has the least restriction I guess, which also makes work harder, since there are too many possibilities sometimes.
When it comes to printmaking, I think the only restrictions are your skills and eyesight, haha!
Tattoo by Billy Bernert, Sulphur Tattoo, Gunzenhausen, Germany
Drawing definitely is the groundwork for everything I do, be it for a tattoo for clients or just mindlessly doodling for myself. I aim to keep the same look, independent from the medium, but skin, paper or wood have their very own limitations and restrictions that I have to consider. But the drawing process is always the same, it gets more specific depending on what medium I will use the design for.
Tattoos cannot be too detailed, since the skin is a living and breathing canvas, you have to consider the changes a tattoo undergoes in 20 years with lines getting bolder and losing a bit of sharpness over the years. Illustration has the least restriction I guess, which also makes work harder, since there are too many possibilities sometimes.
When it comes to printmaking, I think the only restrictions are your skills and eyesight, haha!
Tattoo by Billy Bernert, Sulphur Tattoo, Gunzenhausen, Germany
Can you tell us about a project you’re working on now and why it feels special to you?
When it comes to tattooing I am in the very lucky position that all requests customers send me are exactly what I love to draw and tattoo, so I don’t have a very specific project that I look especially forward to. In general I always love "Danse macabre" motifs, they are always great fun, but I also like to copy old woodcuts for learning or knights in armor etc. At the moment I am also too busy to start any other projects besides tattooing but I will try to make more prints next year, we’ll see how that goes.
When it comes to tattooing I am in the very lucky position that all requests customers send me are exactly what I love to draw and tattoo, so I don’t have a very specific project that I look especially forward to. In general I always love "Danse macabre" motifs, they are always great fun, but I also like to copy old woodcuts for learning or knights in armor etc. At the moment I am also too busy to start any other projects besides tattooing but I will try to make more prints next year, we’ll see how that goes.
Tattoo by Billy Bernert, Sulphur Tattoo, Gunzenhausen, Germany You also work in printmaking. Can you walk us through your woodcut process; from choosing the wood to carving the plate to pulling a print?
Usually the inspirations for a new print naturally come from looking through old books and
woodcuts or medieval topics, like the ‘’Danse Macabre’’ for example. I like to pick up topics that are universally understood and don’t require a philosophical degree, in that regard I like to keep it simple. If I find the right inspiration, I usually decide how big I want the whole print to be and start a rough drawing, which I later refine.
When the drawing and the layout is set, I make a simple copy of the drawing and use a special transfer glue to transfer the drawing onto the wood or linoplate. Once dry, you can wash off the paper and you are left with the outlines clearly visible, glued onto the plate.
The option to choose wood or lino really comes down to my mood, to be honest. A woodcut takes about three times longer than a linoprint, since lino is much softer and easier to work with. Also the supply of wood that is suited for printmaking is also limited or very expensive. The decision on which medium I will execute the print often is a very pragmatic one.
Granted the right plate is chosen, the motif is transferred to the block, I start cutting out the
space between outlines with a selection of different woodcut knives and tools, like V and U-shaped gouges and the like. When I am happy with the result, I usually make a test print to check if everything looks the way I want it to look. I am not too good at actually printing the final prints that will be sold, so my wife produces the prints that are in the online shop. She prints them by hand without a printing press, as it gives a bit more control over the pressure applied, but it’s also personal preference to use a press or not.
''Der Reitende Tod'' - Handmade Linoprint by Billy Bernert
You’ve said every tattoo you make is drawn individually for the client. Why is that philosophy important to you?
When I started tattooing, choosing flash was frowned upon, since you might find a person with the same tattoo as yours, which was the worst thing people could imagine. This view changed a little bit over the last few years. I will always draw for each client individually, but through printmaking and studying Old Masters, I often thought that certain motifs are very iconic and perfect as they are. So changing that might mean a downgrade of an otherwise great motif, so I think the best way lies in the middle, meaning drawing the motif completely new and keeping posture or layout, for example, but adding a few little details that make it more unique.
When I started tattooing, choosing flash was frowned upon, since you might find a person with the same tattoo as yours, which was the worst thing people could imagine. This view changed a little bit over the last few years. I will always draw for each client individually, but through printmaking and studying Old Masters, I often thought that certain motifs are very iconic and perfect as they are. So changing that might mean a downgrade of an otherwise great motif, so I think the best way lies in the middle, meaning drawing the motif completely new and keeping posture or layout, for example, but adding a few little details that make it more unique.
Overall I think people might be too concerned about individuality, but on the other hand, I see why you wouldn’t want a copy of a copy of a copy. Let's see where development is headed. I see a lot of people asking for wannados, which are sort of like flash, but you only tattoo them once.
Tattoo by Billy Bernert, Sulphur Tattoo, Gunzenhausen, Germany
What’s your studio like? Can you describe the atmosphere and the vibe you’ve built there?
The studio itself is a loft-like office in a big anonymous industrial building, a little bit scary in
so far that every corridor looks similar and you can get a bit confused with different stairways
etc, but the studio itself looks like an apartment. We don’t have any signs or doorbells attached; we pick people up in front of the building, since we wanted the studio to be as private as possible. That also means no disturbances, and the goal is to have a clean but also cozy overall atmosphere.
The studio itself is a loft-like office in a big anonymous industrial building, a little bit scary in
so far that every corridor looks similar and you can get a bit confused with different stairways
etc, but the studio itself looks like an apartment. We don’t have any signs or doorbells attached; we pick people up in front of the building, since we wanted the studio to be as private as possible. That also means no disturbances, and the goal is to have a clean but also cozy overall atmosphere.
Tattoo by Billy Bernert, Sulphur Tattoo, Gunzenhausen, Germany
Which project, whether a tattoo or a print, has been the most rewarding for you so far, and why?
I guess with the print "Mors Omnia Solvit" I had such a moment. I was searching for inspiration on Pinterest and this print is shown between authentic woodblock prints from the 16th century, and no one bats an eye.
I guess with the print "Mors Omnia Solvit" I had such a moment. I was searching for inspiration on Pinterest and this print is shown between authentic woodblock prints from the 16th century, and no one bats an eye.
That doesn’t sound like much, but to me it’s very close to what I always wanted to achieve, being able to learn the late-Gothic style of German prints to an extent where you can’t instantly tell which print is old and which is from 2025.
'Liber Mortis' - Handmade Linoprint by Billy Bernert
Is there a book (art-related or otherwise) that’s had a lasting impact on you or your creative process?
I think, there is not one specific book or art instruction, but more bits and pieces you gather from research, often just one line or quote can make all the difference. I am an over-thinker, so one quote I often remember when work gets a bit too much and you have doomsday scenarios in your head, is by Hunter S. Thompson.
I think, there is not one specific book or art instruction, but more bits and pieces you gather from research, often just one line or quote can make all the difference. I am an over-thinker, so one quote I often remember when work gets a bit too much and you have doomsday scenarios in your head, is by Hunter S. Thompson.
"There is no such thing as paranoia. Your worst fears can come true at any moment"
Sounds dark, but basically, for me, it says: don't think about things too much —whatever happens, happens.
Tattoo by Billy Bernert, Sulphur Tattoo, Gunzenhausen, Germany
And finally, what advice would you give to artists who want to build a practice that honours their influences but still feels personal?
Try to build on a tradition that has been well established and use it as your foundation. “Find
something that you love and let it kill you”, to quote Charles Bukowski. Be it Traditional Tattooing, Japanese printmaking, Art Nouveau etc. Copy Old Masters, I can’t stress that enough. Your personal touch will develop on its own. I don’t think you can force that.
Try to build on a tradition that has been well established and use it as your foundation. “Find
something that you love and let it kill you”, to quote Charles Bukowski. Be it Traditional Tattooing, Japanese printmaking, Art Nouveau etc. Copy Old Masters, I can’t stress that enough. Your personal touch will develop on its own. I don’t think you can force that.
Thank you so much for your time today Billy! We've been fascinated to learn more about your creative practice and the background to your process. Looking forward to keeping up to date with all your latest work!
