The World War II Home Front demanded huge sacrifices from civilians, and the Kaiser shipyards saw people from all walks of life working side by side. My uncle was an anthropologist at UC Berkeley who spent four years as a marine steamfitter in Richmond; he also wrote for the weekly Kaiser Richmond shipyard magazine Fore ‘n’ Aft – whose staff editorial assistant was none other than the well-known contemporary artist Emmy Lou Packard.
By the mid-1940s, California native Packard (1914-1998) was already a respected artist in the San Francisco Bay Area. She had received her Bachelor of Arts at UC Berkeley in 1936, where she had been arts editor of the Daily Californian and the campus literary magazine Occident. She was also the first female editor of the Pelican, the humor magazine. Packard later studied sculpture and fresco painting at the San Francisco Art Institute. She had befriended renowned Mexican artists Diego Rivera and Frida Kahlo, and after her first husband Burton Cairns’ tragic death in 1939 Packard went to Mexico where she lived and worked with the artistic couple.
During World War II, Emmy Lou became a draftswoman at the Ames Shipbuilding and Drydock Company office in San Francisco, and later moved across the bay to work in the Kaiser Richmond shipyards. She first appeared in the Fore ‘n’ Aft masthead on June 16, 1944. Soon, in addition to her editorial work, Packard began to contribute art to the newspaper. She created scratchboard illustrations and drawings, drew a recurring single-frame cartoon “Shirley the Whirley” about an anthropomorphic rolling-and-turning shipyard crane with attitude, and collaborated on a cartoon strip called “Supermac,” which ran from September 8, 1944, through March 30, 1945.
Her debut as a shipyard illustrator in Fore ‘n’ Aft was July 28, 1944, with a powerful depiction of D-Day, the Allied invasion of Normandy on June 6 that year. Artillery shells bursting in a night sky blasted above the fold, accompanying a first-hand account by former Richmond shipyard worker Richard Cox.
Although she would continue to create a few more major graphics, her forte became “spot illustrations”– those sweet, tiny images that break up type-heavy pages. Often, but not always, the graphics would accompany a specific article such as tips on workplace safety or healthy eating.
The illustrations were never credited, so identifying those done by Emmy Lou is an inexact process. Her son, Donald Cairns, has helped to try and confirm the approximately 100 illustrations she created over her 15 months at Fore ‘n’ Aft.
Packard’s lengthy obituary in the San Francisco Chronicle mentioned the approximately 100 paintings she made of shipyard scenes, but said nothing about her work on Fore ‘n’ Aft. Her son’s website honoring Packard’s career briefly mentions that stint without details, but until now no comprehensive survey of those illustrations has been available.
Such an omission can be explained by the unfortunate art world disinterest in something considered as lowly as labor newspaper illustrations as well as lack of access to the source material. The second limitation has now changed; this essay was made possible by a recent partnership between Kaiser Permanente Heritage Resources and the Richmond (California) Museum of History to digitize as many issues of Fore ‘n’ Aft as possible. The graphics displayed here are the fruit of that digital collaboration.
What do the illustrations reveal?
The Kaiser shipyards began making transport vessels for the British government in 1941, before the United States joined the war. Two magazines covered seven yards (The Bos’n’s Whistle was the publication for the Portland, Ore., area Kaiser shipyards), and many of the cartoons and illustrations in the early issues reflect what one would expect from a trade dominated by straight, white, male industrial laborers of the time – sexist, racist, and homophobic.
But as a vastly different Home Front workforce replaced them, editorial sensibilities evolved as well. What a difference it made to have a politically progressive woman wielding a pen. Packard’s work was patriotic without resorting to racist jabs or stereotypes; she portrayed workers with dignity and character. She drew women’s experiences from a woman’s point of view – numerous vignettes show children (one of her regular subjects later in life), shopping, home life, and the challenges of survival and adjustment in a tempestuous time.
When Packard left Fore ‘n’ Aft, the editors wrote a testimonial to her contribution:
“Emmy Lou Packard is a fine artist. She painted the people who work in the yards with a deftness and freshness. But more, she sketched and painted how these workers feel. She pictured man in the complicated throes of the huge shipyards, with twisting pipes and rolls of cable drums, boilers and ten-ton steel plates, and plate shop presses fifteen feet high. Always man was a part of this complexity and always he controlled the huge machines and materials.”
These are but a few examples of Emmy Lou Packard’s previously unexamined yet important work.
Short link to this article: http://bit.ly/1uB7vLC