Illustration Self Portrait

Our first assignment in our illustration class was to do a self portrait. This was not that self portrait. As that was my first attempt, I was not thrilled with the result. So here I present my SECOND illustration self portrait. I'll mercifully spare you the first one. :-)

Self Portrait
Steven Sauke
Illustration

I was happy with this one. As with my self portrait in the style of Aaron Douglas, I have used this one as a profile picture as well. I have on occasion even used it for my profile picture at work.

Days of Yore: Navigation

For millennia, humans have suffered from, or reveled in, wanderlust, that tantalizing pull from the cosmos to travel and see the world. Back in the day (long before my time), it was mainly on foot, sometimes riding horses, camels, chariots, boats and other animals and vehicles. Over the years, people have used a variety of ways to keep track of where they were and how they planned to get where they were going.

Image by Pavel Timofeev on Adobe Stock

The Bible tells of wise men who came from the east to visit the infant Jesus following a star. For centuries before that (and since), people studied the stars, and they used stars and constellations to keep track of where they were. The star the wise men followed led them to Bethlehem. I don't know how they found it with such precision based on the star, but they were the experts. I do know they studied prior to leaving, and asked around during the journey, as the experts on prophecies advised them on the general vicinity, and King Herod tried to get them to rat on Jesus.

As the years went on, explorers set out on ships, camels, horses, wagons and other means to learn more about the planet and find what was out there beyond the horizon. As they learned more, they made maps. Astronomers mapped out the stars as well. Leif Ericson and other Vikings landed in present-day Iceland, Greenland and Newfoundland. Columbus tried to find the Indies and landed in the Caribbean (and did some horrible things in the process). Magellan set out from Spain and made it to the what is now the Philippines, where he was killed. His crew was among the first to make it all the way around the globe. Cortez and Pizarro landed in the Americas and caused mayhem and destruction among some of the great peoples there, who themselves had made great strides in astronomy, timekeeping, and other fields. Lewis and Clark made it across the North American continent with the help of Sacajawea and others. Explorers drew up maps and kept journals, and even though those journals often reveal unspeakable things that they did to the people who already lived there, they also included observations on the landscape, the vegetation, the animals, and a lot more. They also often followed the stars. Eventually, the Wright Brothers would invent a plane, and later others got rockets into space, bringing a whole new view of the earth we live on, from above. Neil Armstrong and his crew would land on the moon. More recently, unmanned rovers have landed on Mars and shown us some of the sights there.

In their explorations and travels, people used a variety of kinds of equipment:

• Compass. This was generally based on the magnetic pull of the earth's poles, and the needle pointed toward the north. It helped people to keep track of which direction they were going, or needed to go. The down side was if there was a strong magnet nearby, it could throw the compass off.
• Sextant. This was a device that was used on ships to determine the angle between the earth and the stars or other celestial bodies, which helped to determine latitude and longitude. That's a sextant on the right side of the picture at the top of this post.
• Telescope. This was a long tube with a magnification lens that allowed people to see things at a distance. They were sometimes on stands, but could also be held in the hand (depending on the size...some of the more powerful ones were too massive to hold). They were used both to examine stars, planets and other things in the sky, and to see things that were more earthbound, such as a ship looking for land. Some modern telescopes also include cameras.
• Map. Over the years, these were on papyrus, parchment, stone, paper, and other materials, most recently electronically. They have been used for millennia in various ways.
• Globe. This is a spherical model of the earth, generally with countries, oceans, landmarks and other things marked, sometimes with mountains and such in relief. Though they vary in size, they are often around the size of a basketball. I have a smaller one.
• Atlas. This is a book full of maps. Our atlas when I was little was huge, and sometimes heavy. Named for the Greek titan doomed to hold up the sky and think about what he had done, atlases were a place we could look when researching a place, often arranged by country, state, or whatever the specific focus of that atlas was. [Side note: It seems the Greek gods were big on giving the epically torturous eternal time-outs...Prometheus very uncomfortably tied to a rock (understatement), Atlas with the world literally on his shoulders, Sisyphus pushing the rock up the hill only to have it roll back down and have to push it back up, Tantalus being tantalized by the fruit in the tree that he could never quite reach...I mean, they often deserved their punishments, but still...]

Image by Freepik

Growing up, especially when we were in unfamiliar areas, we had to carry a map. They folded up, but once you opened them, they were much larger. Sometimes folding them back up was a challenge! A car trip sometimes looked like the above picture. Best to pull off the road if you needed to consult the map. Of course, the person in the passenger seat could look at the map (partially folded so as not to take up the whole cabin of the car) and tell the driver where to turn next. Sometimes it helped to draw the route in pencil. When asking for directions, people sometimes drew more crude maps on a piece of paper. Alternatively, some people just described how to get there, and hopefully you remember what they told you!

Eventually, GPS came along and (on the whole) simplified things, eliminating the need to pull out a massive map and then struggle to refold it. Of course, GPS (Global Positioning System) can be temperamental at times, and has been known to tell me to turn right onto a stairway (and then not be happy when I opted not to follow its advice that it thought was so sage). It has improved over the years, though. For a while we used GPS units, which were a bit larger than your average cell phone and were relatively expensive. Now I have apps on my phone, and I also have GPS in my car.

Many planes have maps either in their app or on any screens available in the seat backs or ceilings (which are becoming less common). That way you can tell where you are as you fly over. Of course, if it's on the app or website, that generally only works when you aren't ascending or descending and have to have your phone in airplane mode. Friends and family can also sometimes follow your progress on a map on the airline's website if they know the flight number and airline. Air traffic controllers help pilots take off and land safely, and pilots can communicate with each other.

Navigation has changed a lot over the years, and advances in modes of transportation have sped up the process considerably. A journey that once took months or years by boat now takes a few hours by plane. Shorter trips that took hours or days on foot or horseback can take minutes or hours by car. As with so much else, a lot of the navigation part of the journey can now be done on a phone or as an electronic feature in vehicles.

Sosa Trek

In 2013, I had the honor of being involved in Canvas Trek, a campaign to introduce Edmonds Community College to the new Learning Management System (LMS) called Canvas. They were phasing out Blackboard, the old LMS. We modeled our campaign after Star Trek. We fought and defeated the evil Blackborg to bring the new Canvas to save the day!

Following are designs I made of our intrepid leader Steve Sosa as various Star Trek folks. We ended up not using them in the campaign, though I was pretty proud of how they turned out. Had we used them, I would have made more. (For example, I would have been interested in seeing him as a Ferengi.) The top one is one I made at the end of my internship to thank Steve for his inspirational leadership.

Sosa Trek
Steven Sauke
Illustration and NASA art of the Carina Nebula

Klingon Steve
Qapla!

Steve was assimilated. Resistance was futile.

Capitán Kork
"I am the Captain of the Enterprise
And a right good Captain too!
You're exceedingly polite, and I think it only right
To return the compliment!
We're exceedingly polite, and he thinks it only right
To return the compliment!"

Vulcan Ambassador Steve
Live long and prosper!

Steve Sosa
in his office
This was the original illustration, which
I tweaked for all subsequent versions

How Have Things Changed on Broadway?

For today's installment in the "Days of Yore" series, I'm excited that my friend Michael Kape has graciously agreed to share from his extensive experience onstage, behind the scenes, and as a Broadway critic, to recall ways Broadway has changed over the years. He also founded an amazing group (I may be slightly biased) called Broadway Remembered that he has allowed me to join him in adminning, along with three other fantastic admins. 

So without further ado, here's Michael:

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How Have Things Changed on Broadway?

Nearly 70 Years of Watching

 

Michael Kape

It begins by settling into a cramped seat—taking your time or rushing because you showed up after the show started. And not much has changed—with the seats, that is—in over 100 years. But what about the shows we’re seeing on the stage? Ah, there, at least, we’ve made some progress.

It is nearly impossible to encapsulate everything we’ve seen change over the past several decades. My own time in the theatre extends back only 70 years or so. I can only offer my observations and opinions (and I definitely do have some opinions). So, let me begin by offering a bit of heresy. The 1950s and 1960s were NOT really the so-called Golden Age. Those were good years, of course. But things have changed and improved. It can even be argued shows are better now than they’ve ever been, and they continue to improve. Yes, this is coming from someone who is considered an old fuddy-duddy. We’ll come back to this.

Oddly enough, this all came into focus by viewing a 35-year-old musical recently, one I had always thought was a pinnacle of great direction and design (not great music and definitely not great lyrics). Yeah, we all know the show—Phantom of the Opera.

After 35 years, it’s become old. What was once innovative and thrilling now feels tired and stodgy. I’m not talking about the performers (all great); I’m talking about the staging, the design, the overall feel. What once was exciting seems old hat. Maybe if I hadn’t been exposed to it multiple times when it debuted, I might still be thrilled by a slowly falling chandelier (like really, that can’t be considered a crash, can it?). Oh. Look. That. Chandelier. Is. Creeping. Down. To. The. Stage. In. Slow. Motion. (Cue the quasi-rock music.)

Once upon a time, like 70 years ago, we had a Main Stem bustling with excitement. A constant barrage of new plays and musicals, many of which became classics. But let’s give this golden age some context. Amusement options were fewer. Most of the country derived its entertainment from movies or television—with theatre even then a distant third (though there were more tours treading the boards from Savannah to Seattle). For every My Fair Lady, Broadway offered up a panoply of overnight flops. On the other hand, any show running at least 500 performances was considered a hit; now it hasn’t even begun to repay its investors.

My first real exposure to Broadway happened when I was only three. My late mother, ever the Broadway Baby, bought me Rodgers and Hammerstein for Children, a boxed set of 45s with music from Oklahoma to Pipe Dream (Flower Drum Song and The Sound of Music were still to be written). It was an easy way to introduce musical theatre to budding audiences. We could sing along to Happy Talk or The Gentleman Is a Dope (such a naughty word for us tots!) under the complete cooperation of theatre nerd parents (even my father got into the act by giving me his copy of the printed version of Damon Runyon’s Guys and Dolls—not the musical but the book upon which it’s based). So, I come by my theatre fixation honestly; I was raised that way. My first time on stage (but definitely not my last) was in the title role of The Gingerbread Boy at age six. Every cast album played on the new stereo as soon as it was released. I had the truncated version of Most Happy Fella memorized by age seven. The collection in our home also included South Pacific, Kiss Me Kate (on 45s), West Side Story (I was already a Sondheim fan), The Music Man (which my late sister Anita and I did in 1965), and many more. Of course, I devoured the liner notes for each recording (does anyone else miss those brilliantly written liner notes?) And being a devilish developing theatre nerd, I somehow “appropriated” my mother’s copy of The Complete Words of Gilbert and Sullivan (and I still have it, too).

 

But I digress. (I’m often accused of talking in parentheses to which I plead guilty.)

How have things changed on Broadway over seven decades? Simple. There’s a lot less being done (with far fewer theatres) but what is done is much better. This isn’t to say we didn’t have some great works 70 years ago. We did. The Lerner and Loewe catalog. The Rodgers and Hammerstein library (except for maybe Pipe Dream and Me and Juliet—what were they thinking?). Candide (yes, I know it was a flop but has there ever been a finer overture?). 

Then the so-called Golden Age gave way to something better. Concept. Shows like Cabaret. The whole Sondheim collection. Lloyd-Webber and Rice (when they worked together; we won’t discuss Cats). The mega-musicals. Better librettos. Much better design (have you ever looked at how cheap those Golden Age musicals looked?) and lighting (the current Phantom lighting looks so cheap and meh compared to what’s available now).

We expect (and get) more from Broadway now. Yet as the saying goes, you can’t hum the scenery. Yes, the set, lighting, and sound have all taken giant leaps in the past 70 years or so, but are the stories being told any better? That all depends on how they’re being told. Case in point (for me) is Arthur Miller’s Death of a Salesman. I know, I know, the great American tragedy. But it’s always felt like a product of its time. (Sorry, that’s just how I felt about it.) Could we really identify with Willy Loman 70 years later? I know I couldn’t—until I saw the new production on Broadway recently. The play had been reimagined, reconsidered, refocused. Now, at long last, it felt relevant again. And that’s what great theatre is supposed to do—challenge what we thought we knew and take us in an entirely different direction. On the other hand, I know many theatre companies across the country (and a few in New York City) work on slavishly recreating original productions. We can see The King and I still faithfully reproduced in any number of places (I’m not referring to the last production) as if it was a museum piece. No thought. No imagination. Even the sets are from 1951!

After all this, I’m sure some of you are wondering what could ever qualify me to write about nearly 70 years of going to Broadway? Not a helluva lot, actually (gotta be honest here). But having been given this platform to speak, I’m taking advantage of it. But in that time, I’ve been an actor, director, designer, producer, stagehand, playwright, and (much to my eternal shame) a critic (seven years on the Dark Side). And one other credit on that list—one of the brave souls administering Broadway Remembered, an aptly named group all things considered. We remember and we celebrate. And we educate because there’s still a lot of people to learn. Consider the following overheard very recently on 45^th Street and Shubert Alley: “The Booth Theatre—is that where Lincoln was shot?”

Yeah, we have a lot of educating left to do and plenty to remember.

Hallelujah!

Hallelujah! is the English spelling of the Hebrew for "Praise the Lord!" My grandpa liked to observe that there were two words that were the same in every language: Hallelujah and Coca-Cola.

Hallelujah!
Steven Sauke
Illustration

Christ's Resurrection is one of the greatest miracles in history. We commemorate it every year on Easter. I made this a few years ago. The black circle in the middle is the empty tomb, with the gray rock around it, and sunlight triumphantly shining out from it. That was a glorious day! 

Hallelujah! Christ is risen!

He is risen indeed!

He Has Risen!

Happy Easter!

I made this illustration a few years ago to celebrate Easter. It was a follow-up to my Good Friday illustration, making a few changes to the Friday piece.

He Has Risen
Steven Sauke
Illustration

I was particularly honoured in 2018 when this was displayed in a 14th Century church in England to commemorate Easter. That is perhaps the most impressive place my artwork has been on display.

Kyrie Eleison

Kyrie Eleison is Latin for "Lord, have mercy!" It is often used in church liturgy going back centuries, and as I see more and more horrifying events in the news, that's often my prayer for our nation and our world. I made this graphic a few years ago for Good Friday, which is one time it is commonly used.

Kyrie Eleison
Steven Sauke
Illustration

The black across the top represents the dark sky, as it got dark during the day when Christ was crucified. The brown stripe is for the cross. The red is for Christ's blood.

Today is Black Saturday, the day between Jesus' death and resurrection. Growing up in the Philippines, this was one of the saddest days of the year, when many believed Jesus was literally dead every Black Saturday, and many didn't dare do anything or take any risks, should anything happen and Jesus might not be there to help. 

Our church in the Philippines had a retreat one year during Holy Week, and they returned on Black Saturday. A group was traveling in the countryside in the church's Toyota Tamaraw when both tires on one side of the vehicle blew and it rolled. Tamaraws did not have seatbelts at the time (I assume they do now, but don't know that for sure), and it was a very frightening experience. Most people were only scraped and bruised, though there were some broken bones. But Cynthia Mollo (pronounced "mole-yo"), a wonderful woman in our church, who had a massive heart, was injured much more severely. She was pregnant at the time. Everyone was rushed to the hospital. We were not with them, but my parents rushed to that hospital to be with them, and I stayed with friends. (My brother Tim was out of town.) We got regular updates as Cynthia and her unborn baby fought for their lives. I will never forget our friend getting off the phone after one of those updates and saying, "Well, Cynthia is with the Lord." (I'm tearing up thinking about it over 30 years later.) I sobbed.

Cynthia's husband Dindo was in a different car returning from the retreat, and later recalled they were singing as they travelled in their car, not knowing what was happening in the other vehicle: 

"I've got a mansion just over the hilltop
In that bright land where we'll never grow old
And someday yonder we will never more wander
But walk on streets that are purest gold"

They sang that at her funeral as well. It was a major comfort for everyone, knowing where Cynthia and her baby were, completely free from pain. After the service, we attended the burial, and her tombstone said "SEE YOU IN HEAVEN."

Since the accident happened on Black Saturday, Cynthia's mother was upset that they had gone on a trip on that day of all days. How could they do it on the day when Jesus was dead? I'm not sure what caused her to realize Jesus was there and protecting everyone else, but she did eventually come to understand that. It was a miracle that nobody else was hurt worse than they were. But losing Cynthia and her unborn baby was a huge blow to all of us.