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“My aim is to disseminate and share these overlooked queer histories and the language work of radical queers of the past,” they say.

But Pyper also adds that naming the font after the collective is a way of directing people towards its history. Why’s it called Women’s Car Repair Collective? Pyper based the font for the Triennial beer-later developed out into a full font for Library Stack–on the lettering they found on the Women’s Car Repair Collective ( WCRC) flyers. Via the Saint Louis LGBT History Project (). Louis, and that existed across North America at this time,” Pyper says. “It’s a way to illustrate some of this lesbian socialist history that exists in St. The Lesbian Alliance also had an initiative called the Women’s Car Repair Collective, and it was on those flyers that Pyper found the inspiration for their font. Alongside running a coffee house and offering counseling and legal services, the group published a lesbian-feminist newsletter called Moonstorm through their imprint Tiamat Press. Louis Queer History Portal and on social media, Pyper found the St. Via Twitter user searching online through the St.

Louis history I would find this type of organization.” Moonstorm issue No 10, 1977. I knew that if I were dig deep enough into St. “These types of publications and organizations are often invisible, erased, or overlooked, but the more research I do, the clearer it’s become to me that they existed in a lot of places and in a lot of different forms.

“ A lot of my research deals with socialist, anarchist, gay and lesbian publishing histories in the ’60s, ’70s, and ’80s,” Pyper says. Louis, their first thought was to go straight to the archives. In 2018, when Riepenhoff asked Pyper to design a font for a beer brewed for the Counterpublic Triennial, a community-organized art exhibition held in St. Courtesy Nat Pyper.īack Story: The Women’s Car Repair Collective font was commissioned by the multi-faceted digital archive and publisher Library Stack as part of a series of typefaces designed by Nat Pyper called “Queer Year of Love Letters.” But it originated in an earlier project, a beer label design for Milwaukee gallerist John Riepenhoff, whose ongoing Beer Endowment Project raises money for small arts organizations and the exhibitions where they’re sold.