Work inquiries: mail@dariusou.work or follow.

Worked with: 89plus, 0xSalon, Asian Film Archive, Asics, DesignSingapore Council, Harper’s Bazaar, HYPEBEAST, Hyundai, Image Comics, KALEIDOSCOPE, Moncler, Nike, NTU CCA Singapore, Tai Kwun Contemporary, The Substation, & more. Works selected by: INTL, Golden Bee Biennale, Brno Biennial of Graphic Design, Art Directors Club Switzerland, Society of Typographic Arts Chicago (STA 100), & The One Club New York (YG 19 Finalist); shown in: National Design Centre Singapore, Institute of Contemporary Arts Singapore, Centre for Contemporary Art Derry~Londonderry, Studio 13/16 in Centre Pompidou, Le Commun, & Moravská galerie; featured on: AIGA Eye on Design, Design Observer, IdN Magazine, It's Nice That, Slanted, Unit Editions, & Viction:ary.

Working on: Identities, type, motion, & graphic design; Working from: #06-19, 50 Gambas Crescent, 757022 Singapore.

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Death in the Mouth

is a horror anthology showcasing BIPOC and other ethnically marginalised writers and artists from around the world, featuring prose stories exploring new and unique manifestations of horror.

Curated and edited by Sloane Leong and Cassie Hart, the anthology explores manifestations of dread, grief, and anxiety; embodiments of mania and displacements of faith; transgressions of the body, the spirit, and the community. The title was inspired by Hawaiian proverb: “I ka ‘ōlelo ke ola, i ka ‘ōlelo ka make“, which translates to: “There is life in the mouth and death in the mouth” Exploring the visceral horror of the offending, the transgression of form, language and meanings, the title lettering defies western classification as neither serif nor sans serif; with appendages impaling/corrupting one another as an amalgamated mess. Also featured is an alternate proposal of the title graphic, an ambigram iteration. (Credits — DITM 1 3D render and sequences: w/ Vu Long; DITM 2 3D render and sequences: w/ Nghia Phung; Original soundtrack: Monkey+Dog)

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Form & Agency

is a solo exhibition by artist Brandon Tay that explores the materiality of the digital. Presented on three stacks — the physical, the virtual, and live simulation components — the visual identity echoes the verticality of the stacks with a custom typeface. Shown in Yeo Workshop.

The experimental variable typeface, As above, so below with elongated ascenders and descenders is capable of forming ‘vertical ligatures’, not with lateral letters but across lines of texts through stems of letterforms. This verticality is reflected through the placement of texts on edges of walls in the gallery space; of thresholds between spaces. Vertical ligatures challenging the linearity of languages; of words in lines; of thresholds between symbols and meanings. (Credits — Curator: Rafi Abdullah; Exhibition design: Amirul Nazree, set up w/ Nghia Phung; Website design and build: w/ Bảo Anh Bùi; Exhibition Photography: Jonathan Tan)