[2] Drexel Institute established a scholarship fund for Pyle's most accomplished students to attend an art program at Chadd’s Ford on the Brandywine.

[2] Of that summer's program, Pyle said that his students benefited from the natural, relaxed setting that allowed them to progress more as artists in a couple of months than they would have in a year of classroom study.

[2] Weber illustrated 60[2] of the magazine's covers starting with New Year’s Number, 1904 on December 31, 1904, and ending with Swinging in the Apple Tree on the August 15, 1925, issue.

The Saturday Evening Post stated that she was "particularly adept at creating movement and flow that gave the impression of coming and going... [and] that the subject would dance off the page in the next moment.

"[2] The images of young girls were often depicted like little women, engaged in charming scenes, like flying kites, watering roses, or cuddling cats.

[7] Weber was one of several talented illustrators—like J. C. Leyendecker, Neysa McMein, Anita Parkhurst, C. Coles Phillips and Cushman Parker—created illustrations of the weekly magazine, which in the early 20th century was limited to a two-color printing process.

[15] She, Anita Parkhurst, and Jessie Willcox Smith were among a group of woman artists—with Lucile Patterson Marsh and Ruth Eastman—to have had distinctive careers as illustrators.

[2][b] In 1975 her works were included in a 90 painting exhibition entitled "Women Illustrators in the Howard Pyle Tradition" held at the Brandywine River Museum from September through November.

The other illustrators were Jessie Willcox Smith, Alice Barber Stephens, May Wilson Preston, Violet Oakley, Elizabeth Shippen Green, Mary Hallock Foote, Maginel Wright Enright, Florence Scovel Shinn, and Anna Whelan Betts.