Combining my studies in Graphic Design and traditional drawing, I made the natural progression to illustration in 2009. Inspired by artists such as Sam Weber, Jeremy Fish, the Hanuka brothers, Edward Kinsella, and Ian Francis, my work falls somewhere between semi-realism and comic. I communicate ideas through a mash up of watercolour, vector, and graphite.

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Three illustrators from vastly different backgrounds — Sam Weber (Canada), Yuko Shimizu (Japan), and Tomer Hanuka (Israel) — are meeting at the crossroads of a distinct American aesthetic to examine their new-found artistic voices through personal mythologies, broken narratives and remixed identities. Each of the illustrators featured as part of BLOW UP (running at New York’s Society of Illustrators until October 16) created new works to be shown for the first time in this exhibition.

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Brooklyn-based artist Sam Weber recently collaborated with the Folio Society and the William Golding estate to create an illustrated edition of Golding’s classic novel, Lord of the Flies. Copies are currently available to Folio Society members only, but they’re still sure to sell quick.

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Those amazing illustration seniors from The Ringling School have outdone themselves with their beautifully designed book, Illest of Ill. The book was created with the intention of selling it to raise funds for their senior show. They contacted various illustrators and asked them to contribute an illustration based on the classic Gibson Girl or Arrow Shirt Man (myself included). The book includes some fantastic work from illustrators Sam Weber, Nathan Fox, George Pratt and Sterling Hundley, among so, so many others.

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New York-based illustrator, and some time Lost At E Minor contributor, Sam Weber, has a nice collection of new work up on his website, including this piece, appropriately titled Prospero.

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There’s some awesome new work up on New York-based illustrator, Sam Weber’s website, including this one above which is did for the Soulpepper Theatre. We asked him a little while back about what his studio workspace was like: ‘I am fairly particular about where I like to work, and what sort of stuff I like to have around me. There are things that I look at often — a book of Max Ernst collages, one on Yoshitaka Amano, and a big stack of clippings from magazines and the Internet that I will periodically leaf through to get inspired’. [more about Sam Weber]

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We asked illustrator Sam Weber to give us the inside word on some of the young artists who have caught his eye recently: ‘Francis Vallejo, Yoko Furusho [above], and David Jien [below]. For up-and-comers, they are a few with some really amazing work’.

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We caught up with New York-based artist Sam Weber recently to get the inside word on where most of his creativity is unleashed: his studio space. In regards to your workspace, what are the props for your daily inspiration? ‘I wouldn’t say there is anything specific, although I am fairly particular about where I like to work, and what sort of stuff I like to have around me. There are things that I look at often, a book of Max Ernst collages, one on Yoshitaka Amano, and a big stack of clippings from magazines and the Internet that I will periodically leaf through to get inspired’.

‘I do like to work with some music in the background. I don’t really have all that much artwork hanging up, mainly because of scarce wall space. Just having my materials lying around and some drawings underway is usually enough to get me motivated and working. Having a studio is a nice luxury’.

Are you usually working on a series of paintings or illustrations at a time, or do you work on one until it’s finished and then move on?
‘I wish I could work on only one thing at a time, but inevitably projects overlap and I find myself juggling many things at once. It’s unfortunately something that comes with being an illustrator. It’s less frustrating when it comes to my own work, as for the most part a deadline isn’t hanging over my head. I fantasize regularly about one day only working on one picture at a time, from start to finish. C’est la guerre’.

Is there a time of day in your studio when you generally feel most productive and creative?
‘I love early mornings, that is definitely my favourite time to work. I love starting early and getting into a project before the phone starts ringing and other things begin to demand my attention. I used to work a lot at night, but the early morning suits me much better I think’.

What’s your studio missing that it could do with right now?
‘A ping pong table and more plants’.

[photos by Reynard Li]

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I love Sam Weber’s illustration of Bjork. It captures the mischievous twinkle that seems omnipresent in her eyes whilst also presenting her in an environment which pays homage to her somewhat mystical musical approach. [more about Sam Weber]

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Yes, we’ve featured him a lot on Lost At E Minor, but how could we not? New York-based artist Sam Weber’s work is amazing, tapping into dreams, visions, and fantasies from every wayward mind. [more about Sam Weber]

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We’ve invited some of our favorite creative peeps — including Ben Lee and artist Sam Weber — to write posts for Lost At E Minor over the past few months about their favorite cultural things and people right now. Other guest contributors include Tegan from Tegan & Sara; singer-songwriter, Laura Veirs; illustrator Yuko Shimizu; ex-Tokion designer, Deanne Cheuk; UK musician, Simple Kid; creative director for The Fader magazine, Phil Bicker, and the Black Heart Procession’s Toby Nathaniel [pictured above].

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A lot of people have asked us where the name Lost At E Minor comes from and what the phrase implies. Well, several years ago I came across a compilation of obscure electro music called Famous When Dead, which is off the commendably experimental German label, Playhouse. One of the tracks on the album was by the production duo, Light Fantastic, and was titled Lost At C Minor. It’s an awesome song which weaves and winds its way through several distinct melodic changes. Anyway, the name kinda stuck in my head. There was something quite beautiful about the symbolism of being lost in a minor key world. C Minor is an interesting chord, but being a musician with an ear for the melancholic, I’ve long thought that E Minor was the most evocative and honest of the keys – haunting, endearing, a little sombre, yet strangely uplifting. So when we were brainstorming a name for this website and newsletter that would showcase all the magnificent cultural things that we love, the name Lost At E Minor leapt out just like the song had done the first time I heard it. It captures the immediacy of the moment but also hints at the depth of those that we feature. But above all, it’s about total immersion in this artistic, creative world we seek to create where anything is truly possible. [illustration by Sam Weber]

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We’ve featured Sam Weber’s work on numerous occasions, so it was good to finally track him down for an interview, asking him first up how immersed he is in the New York art scene.

‘Not as much as I probably should be. It’s definitely a source of guilt in my life. So many great shows and exhibitions find there way here, it’s impossible to see them all. The Chelsea gallery scene is incredible, and is always a great place to get recharged and inspired, although I don’t make it down there nearly as much as I should. It was a lot easier when I was a student. I’ve been lucky enough to meet a lot of great artists, illustrators, and designers. Despite New York’s size, the community actually feels pretty small sometimes. Between large events, and just hanging out with friends and colleagues, I would say I get to stay in touch with the scene pretty well. Getting to meet other creative types is one of my favorite things about the city’.

Would you be doing the same things if you were still living in Calgary?
‘That’s difficult to say. My work really evolved after I moved here. Whether it was due to my change in location, or just practice and time, is hard to say. Most likely a combination of the two. I think New York probably has effected my work in many ways. Although I wouldn’t consider any of my drawings about the city, there are visual elements inherent to the city that I think crop up here and there, especially the surface qualities of the environment and its textures. Being around so many talented people has also helped me along. There’s nothing like seeing great work by other people to get you motivated and excited about making your own work’.

There always seems to be a dark undercurrent to your work. The subjects never seem particularly happy but rather have expressions of either surprise or fear. Why is this is such a prominent feature of your illustration work?
‘People have said that before about my work. I think it has a little to do with the type of stories that interest me, and have always interested me. Fairy Tales, cautionary stories, things meant to scare children. I’ve grown to appreciate those stories even more as I’ve grown older. There is something in those stories, and the exaggerated misery and tragedy, that I respond to, or at least have recently. As far as a tool for convey my own ideas and interests, they serve as wonderful metaphors and jumping off points. There are so many horrible things going on in the world, it’s calming I think to garner a little surprise or sense of unease from a fictitious image. A lot of it could be chalked up to simple escapism I suppose’.

You also like to keep the color palette quite minimal. But there are dramatic clashes happening om the page (the orange and black for instance). What’s your theory on the use of color in your work and in the work of others?
‘Color has never been my strong point, although I enjoy using it, and playing with it very much. Starting to work digitally had a huge effect on my palette. With an essentially infinite choice of colors available, I purposefully limit myself to keep things focused. The computer is a great tool, but has created for me as many artistic problems as it has solved. Something I think a lot of people who work digitally have experienced. With that said, muted colors have always been more interesting to me. A lot of the artists I admire, Casper David Friedrich, Yoshitaka Amano, Andrew Wyeth, Hokusai, all have a great ability to limit their color in a way that I find exciting’.

Is there an album that you generally turn to for creative stimulation?
‘That’s hard to say. I guess I find myself listening to Leonard Cohen’s Songs of Love and Hate a lot. Especially early in the mornings. Phillip Glass’ Solo Piano is also a regular staple. And Ratatat’.

Between you and [artist wife] Jillian [Tamaki], your house must be full of beautiful artwork. Apart from your own work, what else do you have hanging on the walls?
‘I think as a rule we don’t hang any of our own work up. I spend enough time staring at my own failures at the studio, the last thing I want is to see them when I get home. Although I can’t speak for Jillian, I know I have a very difficult time feeling any affection for my own work once it has been finished. We’re slowly starting to collect work by others, which has been a really rewarding process. Some from friends and people we know, and other stuff we’ve bought. We have a Jack Long painting, a drawing by Gary Panter Jillian got me for Christmas last year, a great print by Aya Kakeda. A piece by Raymond Biesinger, and some paintings by Rick Sealock. Great prints by Jonathan Bean and Tayeun Yoo. I’m sure I’m forgetting something’.

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