can you hear me?

That’s the result of this project. Thanks a lot for all that collaborated handling the sentences!



Many thanks to


Thanks to Pierre that let me use his beautiful composition in this project.


Portuguese by Recife


The collaboration for the Portuguese version comes from Eduardo Recife, an exceptional brazilian type designer. The projects by recife can be found at Misprinted Type. Since 1990 Recife has worked as type designer, visual artist, designer and illustrator. Recife kindly added to our project his type face Handmade.

“Handmade is a mix of vernacular and ornamental typography. It is very detailed but at the same time brings the simplicity of a nearly childlike letter.” By Recife  

“As brazilians we can hardly stand a single physical stereotype as we all come from so many different backgrounds. Brazil has such variety of cultures that we find it hard to express visually our national identity as a single unity. The concept of diversity is certainly present on the Handmade font. It brings a rich amount of  shapes that are very well put together. That also relates to the brazilian ability of improvisation, no matter the materials available around. It brings the spontaneity and happy aura of the brazilian people.”  by Nanda Dias

Spanish by Anabelle


Spanish version by Anabelle Grullón, from Santo Domingo, Dominican Republic.

by Anabelle “This city has grown without a plan. There are opposites in every corner.  You can see huge buildings next to one-floor houses or palm trees next to cacti right outside your yard. 

The weather is 30ºC most of the year and that sometimes makes us go insane. Traffic is a mess but driving with an oceanI love the organized chaos of my city. 

During this process I realized that in Spanish “Can you hear me?” has words which says a lot about how we communicate.

 I chose Futura for the words as it can be loud or quiet yet send a clear message and Times New Roman for the question marks, because its organic nature reflects our personality as Caribbean: traditional and outspoken. I changed the baseline shift to reflect the sense of modulation of our language: Spanish.”


French by Antoine

Antoine, from Paris, friend of a close friend in Rio, Liana. He made the great collaboration for the french version.

The main thought was the art nouveau style, so characteristic in Parisian corners. The elegance is also present in the idea of Paris and some of its narrow silhouettes. The type face chosen is Parisian by George Williams. A free font that was inspired by Morris Fuller Benton font.

German by Martha


German version by Martha Damus, a dear friend that I meet in classes, beers and tea time!

The font used was a homage to the great German typographer Herman Zapf and his complex and pretty calligraphic font Zapfino. The complexity of the German language might be the a great metaphor encountered in the curves and equilibrium of such type face.


Thanks Martha for your collaboration! 😉

Italian by Bea Righi

From Milano to space! By Bea Righi my dear super friend! Almost everyday making company to me and debating interesting topics. Thanks a lot!

Bea added a honourable sentence in Latin:

“This is one of the most famous phrase from latin that is still used in the ordinary language. “Cogito ergo sum” (Italian: “Penso dunque sono”; English: “I think, therefore I am”) it is a philosophical Latin statement proposed by René Descartes.” by Bea Richi

The font used had a great historic value. It is the beautiful shaped TRAJAN.

Trajan was designed by Carol Twombly in 1989 for Adobe. Its design was based on the Roman square capitals, as the onse engraved in the base of  Trajan’s Column (Colonna Traiana) in Rome. .

“Trajan is an old style serif typeface. Since the inscription and its writing form manifests in only one case, Trajan is an all-capitals typeface.”

“Instead, small caps are commonly used, and a more complete set of glyphs contained in Trajan Pro (a 2001 update of the original typeface) includes a lower case of small caps.”