I discovered a primer on printmaking by Lankes in the art library of the Farnsworth Museum in 2001, which piqued my interest in the subject. Lankes was primarily a wood engraver, a process of creating woodcut prints that can be described as white on black.

Cheffetz was a contemporary of Lankes, and was also a master wood engraver.

Gustave Baumann is the master of the multi-color woodblock medium, and my strongest influence. His mastery of color, and the sense of joie de vivre that his prints evoke, are primary qualities that I'm after in my own work.

(British)

The woodblock print scene was equally vibrant in England and the U.S. during the heyday of the Arts & Crafts Movement. Often, the artists worked in obscurity, as with A. Rigden Read, and their biographical information has been largely lost. Their prints, like this gem, continue to shine.

Discovery of her work sparked my interest in multi-color prints.

Gardiner is another strong influence... I love her images of children at play.

Like most on this list, Bebb was self-taught. A florist by trade, he didn't take up the medium (aquatint etchings) until his mid-50's. He was still making prints through his mid-80's.

(Canadian)

Another giant, Phillips worked more in the Japanese method (moku hanga), which produces softer, watercolor like woodblock prints.

All roads lead back to Dow. His influence can be traced directly or indirectly to just about anyone working in the medium 1900-1930. His textbook, Composition, is still relevant and well worth studying.

Berry was a fellow Mainer. He worked mostly in black and white woodblock prints, but also did some nice color linocuts (linoleum). His work is a generous chronicle of mid-coast Maine in the mid-20th century.