John Risseeuw

Address2037 E. Manhatton Dr.
Postal Code85282
Phone Number480-897-3151

First interest in hand papermaking process: 1971

First piece of handmade paper: 1972

First handmade paper artwork: 1972

Beginning of active practice: 1982


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John's Work in Hand Papermaking:

  1. Artist who uses handmade paper for book arts
  2. Artist who uses papermaking for two-dimensional work
  3. Educator who teaches hand papermaking (any facet)

John's Introduction to Hand Papermaking:

  1. An individual

Influences on John's Work in Hand Papermaking:

Publications initially important to John:

  1. Papermaking : Jules Heller
  2. Paper Making: The History and Technique of an Ancient Craf : Dard Hunter
  3. Stuff Preparation for Paper and Paperboard Making : Francis Bolam
  4. Modern Papermaking : Robert Clapperton
  5. A Handbook of Papermaking : Robert Higham

Publications eventually important to John:

  1. Papermaking : Jules Heller
  2. Papermaking: Art & Craft : U. S. Library of Congress
  3. Paper — Art & Technology : Paulette Long
  4. The Art of Papermaking : Bernard Toale

Countries where John's studied:

  1. The Philippines : Michael Parsons, Duntog Papermill
    1. hands-on workshop
    2. demonstration
    3. visit to mill or artist studio
    4. other : Symposium

Raw materials used by John in Hand Papermaking:

Chemicals used by John for cooking fibers in Hand Papermaking:

Used Sometimes
Used Rarely

Tools and methods used by John for beating in Hand Papermaking:

Used Routinely
  1. Hollander beater
Used Sometimes
Used Rarely
  1. hand beating

Style of sheet forming used by John in Hand Papermaking:

Years teaching hand papermaking: 1982-present

Teaching formats used by John:

Used Routinely
  1. classes
Used Rarely
  1. writing

John's Income Contribution from Hand Papermaking:

  1. some


Although I learned the absolute basics from Walter Hamady, I did not study with him and worked out a lot on my own. Joe Wilfer offered some advice while Walter was on leave (my graduate days). Afterword, i worked out a refined and scientifically-explained process of papermaking by reading and speaking to the Clarks and other mature papermakers at meetings and conferences. Several paper production projects for printmaking and bookmaking taught me a great deal by sheer volume of activity and problem solving. Over years of teaching and requiring students to do both rag and plant fiber batches, I also learned more about the aspects of different fibers. Collaboration projects were important in pushing technique and experimentation. Visits, later on, to established mills like Dieu Donné, Twinrocker, and elsewhere all added bits of information, as did attendance at Friends of Dard Hunter meetings. It took decades to achieve some level of complete understanding of the paper process and the ability to use it confidently for paper art purposes.