Vanitas is an elegant high contrast contemporary sans. It is rooted in the style of a classic didone, excluding the typical serifs and ball terminals as well as being designed with a cleaner, more. A collection of 1 Vanitas Font One Page Website for your design inspiration. One Page Love is the leading resource of Single Page websites.
How do we express our resentment, and to what ends? Recently, we’ve gotten innumerable lessons in the sense of dispossession that defines the fabled white working class, courtesy of Fox News affiliates and aspirants (and helpful, candid liberals who blame the scourge of neofascism on “identity politics”). But resentment hinges on the inability to confront the source of grievances, to speak to power and be heard.
Resentment can easily be conveyed and shared—the internet is designed to channel and intensify the sentiment—but has no proper outlet. Resentment often is a cause for shame and exhaustion, rarely is a source of affection or invention. This issue is devoted to reclaiming resentment, especially as harbored by those who are used to fits of anger and bitterness being called unproductive, petty, selfish, even pathological (and not those who suddenly are indispensable props at presidential photo-ops). It asks: Who has a right to be resentful? What are the possibilities and limitations of resentment as a basis for thought and expression, intimacy and solidarity? How does resentment channel (or erode) our attention and energy? How is resentment stoked, mobilized, policed, and to what ends?
Can—and must—resentment be useful? The visual identity for the issue was designed by Pianpian He, who created a visual index of resentment with colors that she associates with the feeling. She applied these colors to Hansje van Halem’s font, whose styles correspond with the cardinal directions, to create patterns that reflect the vital instability of resentment and the mood of each work. To an insurer, a risk pool is a group of individuals whose projected medical costs are combined in order to calculate their premiums.
The wider and deeper these pools, the more the burden of risk (the expense of illness) may be diffused among the overlapping spheres of the healthy and the sick. So much tenderness—the precarity of health, our innate vulnerability—ripples across the bureaucratic surface. This issue considers our interdependence as reflected in the risk pool and asks: How are sickness and wellness defined today, and by whom? What are the effects of these definitions, these acts of naming and describing?
How do various conceptions of malaise and deficiency mark us—as useful or useless laborers; consumers of essential oils, medical procedures, and pharmaceuticals; narrators of our own lives and the systems in which they are enmeshed; providers and recipients of care; political actors and community members? Risk Pool seeks to understand sickness not so much as a singular event or immediately identifiable state, but as a continual and nearly ubiquitous process. The issue’s visual identity, Arial All, designed by, confronts the inaccessibility of typography online. Arial All makes a series of extensions and adjustments to the omnipresent typeface Arial, which improve legibility for readers with dyslexia and impaired vision.
Risk Pool is guest-edited. In an age defined by extremes of finitude and excess, deprivation and luxury, what is vanity? How do we register our own transitoriness even as we strive against decay and senescence, by way of cryogenics labs, biotechnology innovations, spa treatments, and the hoarding of material goods and digital files? This issue explores contemporary meditations on mortality as well as the delights, delusions, and pressures of fleshly existence, and ranges from the much-heralded “end of death” to collective processes of aging to the pursuit of impossible—or nearly impossible—forms of beauty. The name is taken from the opulent, hyperrealist still lifes popularized by Dutch and Flemish painters in the seventeenth century, which symbolize the brevity of human life and essential emptiness of earthly pursuits, even as they advertise the artist’s ability to fix time. These paradoxical images prompt us to consider how and why we strive to overcome death while reminding us of our certain mortality. The identity for Vanitas was designed in collaboration with Olya Domoradova of Werkplaats Typografie.
Programming serial port in C++ with wxWidgets for Windows and Linux. On Windows, it can be complied and run with Visual Studio or a compiler such as tdm-gcc, mingw as follows. The source code also include an example wxWidgets GUI application - wxserial.cpp. The figure above illustrates using it with Visual C++ 2017. Reading a serial port is nothing to do with the GUI, and not cross platform. So wxWidgets has nothing to do with reading serial ports. You can read/write from/to a serial port using the windows API. 
The typeface, gc16, was designed. Standards harmonize bodies, regulate speech, and fix time. They’re ubiquitous, largely invisible tools for organizing social and economic life. Established by voluntary consensus or the passage of centuries, abided by gentle coercion or through habit, they're experienced in all that we record and transmit. They appear as graphical symbols on roadways and machinery; intermodal containers that pass from port to freighter to port; TCP/IP, PDF, MPEG, A4, ISBN; expressions of veneration and nationalism; models for seeing and hearing. This issue treats standards as aesthetic artifacts, political instruments, technological protocols, and linguistic codes.