Kaveesha Shah is an award-winning interior designer at Studio Saransh, India—but her identity extends far beyond her profession. A photographer, a lover of food and poetry, and a deep appreciator of culture and history, Kaveesha approached Studio Ping Pong to design a website that would reflect the full spectrum of her personality and practice. She wanted a digital space that went beyond the ordinary—one that could evoke the materiality, serenity, and attention to detail found across her work.

The website blends professional acumen with personal nuance. Alongside a showcase of her interior design projects, it offers glimpses into her process, inspirations, and reflections—through words she lives by, music that accompanies her workflow, and photographs taken during her travels.

We chose the typefaces Proxima Sera and DM Sans to reflect the balance in Kaveesha’s practice between artistic expression and practical clarity. Proxima Sera, with its warm, contemporary serif character, blends qualities of old-style and modern serif typefaces, bringing depth and a refined touch that connects to the tactile nature of her work. By contrast, DM Sans offers a clean and modern complement. It allows for easy readability across devices and provides a grounded, neutral backdrop that supports the content without overwhelming it. Together, these typefaces create a rhythm that mirrors the duality of Kaveesha’s approach—systematic yet fluid, understated yet thoughtful.

These design choices extend into the finer details of the site. A playful ‘tip of the day’ section highlights her experience, while the contact form, designed like a traditional envelope, gives users a small moment of interaction before they leave. Every element was crafted to ensure that Kaveesha’s personality and professionalism were represented in equal measure—a digital presence as multifaceted as the designer herself.

A first-of-its-kind haven open to every pup in the city, Anu, the founder formed the core of Wagtime. That is why we kept her front and centre, letting pet parents know that their pups are in good hands. The world of pets is playful, cute, and fun – all of which we leaned into when we came on board as design partners for Wagtime. The project spanned across identity, space graphics, illustration, print posters, and an extensive branding system.

It was important for us to make the audience aware that the person behind the brand was equipped to handle their pet, train them, and more importantly, was raising three dogs herself.

We decided to make Anu and her dogs (quite literally) the face of the brand. With each space dedicated to different activities, a naming system with the word time was assigned to each area (playtime/naptime/coachtime). Anu’s voice in the form of a handwriting font was incorporated throughout the brand as small notes, much like a coach’s pointers, also informing clients of the ‘whys’ of what they were doing.

After establishing Anu and the dogs as the face of the logo, the logotype developed a subtle nod to the pups even further with the G doubling as a snout.

Author Variable is used as the primary type to be used in posters and communication collaterals, in different weights. Basic Sans is used as body copy for communication to counterbalance Author. Kalam serves as the tertiary typeface of the brand, emulating Anu’s presence through her handwriting. Its use is limited to copy/elements that mirror her voice in the brand.

The illustrations depicted Anu and her three dogs in different scenarios, all within house-shaped containers that were extracted from a building’s blueprint. Each space within Wagtime got its own designated identity, with individual iconography, colours, illustrations and print signage. The colour system worked in isolation as well as in a larger system when they came together, like that of a kindergarten, but for pups.

The aim with each design element in Wagtime was to keep it fun, while sounding informative and reliable—an essential part of the communication.

Dosa Coffee has been serving authentic South Indian food in Kolkata, India, since the past five years. Known for its no-fuss eateries, and with growing outlets and multiple kinds of offerings, it was struggling to develop consistent brand language. It needed an efficient branding system to work across different formats while retaining its original essence.

With Dosa Coffee, the solution was to keep it uncomplicated and the visuals familiar. As their primary audience was families and older generations, the focus was to maintain its simplicity without compromising quality.

The result was a custom-type logo, brand colours paying homage to the original and as a nod to the dishes on offer, and clean, dotted lines representing motifs from South India. Boasting of two iconic dishes, the name of the brand was as fuss-free as its offerings.

The custom logo was a modified Rustica, inspired from South Indian languages without appropriating the letters themselves. Rustica and Basic Sans were used for the other text to keep in line with the simplicity of the identity.

Every element of the branding was made to complement the simplicity of the food. Stripped down icons; line art depicting an interpretation of local South India; heavy use of white with one prominent colour; and space design that clearly conveyed modern South India without being garish.

Accelerated Money For U (AMU) is an NBFC specialising in EV financing and leasing. The aim of their branding refresh was to have the brand logo and identity reflect their work at the frontier of modernity. At the same time, as a long-standing organisation, they had to retain their essence for recall from past customers and clients.

Studio Ping Pong partnered with them and centred the brand on their three primary tenets. The logo was text logo was updated and a symbol was attached to the brand. The new brand symbol forms an A with three intersecting ovals representing sustainability, finance, and technology.

Similarly, the colours and type echo these tenets. Teal blue and white were chosen as the primary brand colours. These are used in most of AMU’s collaterals. Orange and green as secondary colours break the monotony where needed.

The brand identity is formed around intersecting discs and lines, to signify movement and as a call back to the logo symbol. Stroked discs, matching the logo stroke weight were used as containers, bases and dividers within the branding.

The brand relies on two typefaces: Komet for titles and headings and Arpona Sans for body copy. With the company dealing in vernacular as well, Anek (all scripts, Regular, Medium, Bold) was chosen for any vernacular language use. As an NBFC, the script could not have too much flair – these typefaces were thus chosen for their readability and straightforwardness

This was a corporate branding project where conveying dependability and legitimacy were of utmost importance. The branding aimed to balance elements of modernity (ovals, lines, secondary colours) with classics of the sector (primary colours, typeface) to create a brand that stood for innovation without compromising trust.

The identity and its principles were then translated to a website, developed by ThunderClap.

Leaf is a comfort first brand offering footwear combating a range of orthopaedic issues. The brand provides sustainable and aesthetic options for foot pain, flat feet, and other problems – from slippers, insoles, sandals to even closed toed shoes.

Initially, a fashion footwear brand that was a great solution for flat feet and other orthopaedic issues, Studio Ping Pong worked with Leaf to position them as a one stop shop for all orthopaedic ailments, citing them as the “Arch Enemy of Foot Pain”. After conducting a survey of 100+ people with foot ailments for the brand strategy, we realised many people faced difficulty even doing mundane things like walking and didn't know enough about corrective footwear.

With subtle adjustments to the logo, we highlighted the ‘arch’ to cushion the custom typeface and used the counters in letterforms to tie it back to its brand name. The logo arch became an educational tool to indicate the right kind of arch for their feet and footwear. This also doubled up as the base for the product range of slippers, footwear and ultimately shoes.

Apart from the arch and functional contents, we expanded the brand assets to soft containers and shapes inspired by the product USP. If Leaf was a shape, it would be rounded, plump and cushioned, much like the slippers the brand offered.

While trust markers with medical verification situated the brand in the wellness category, beautiful and functional merch added the lifestyle and fashion voice to it.

The brand relies on two typefaces: Chubbo for titles and headings and Spline Sans for body copy. The logo had a custom leaf-shaped e. The two typefaces were chosen to communicate the same balance of functional but fun as the brand.

A natural deep green along with a light green formed the primary palette for the brand. For extensive use on digital platforms, the bright secondary palette was extracted from the colours of the products.

Overall, the brand communication was all about freedom and encouraging consumers to experience their feet for how they naturally are, tying back to the name of the brand.

Sustainable Futures Collaborative is an independent research organisation analysing frontier issues in climate change, energy, and environment. We at Studio Ping Pong worked with them on their identity and branding collaterals.

Sustainability and future are both strongly linked with the concept of time. For the logo, the sun emerged as an apt representation for SFC and its goal of driving policies to usher in a new dawn.

The sun is an ever-present cosmic phenomena that marks the passage of time and is the producer of solar energy, one of the most abundant sources of clean energy available to us at the moment. Across cultures, it has stood as a symbol for hope, longevity, and energy. Hence, we chose the sun to represent SFC which stands for the same overarching ideas.

Two typefaces were chosen for the organisation: IBM Plex Sans for headings and body copy, and Lusitana for certain collateral titles. The fonts were chosen for their structured look and readability. It was important to have an accessible type and a font that would give SFC the weight their work required.

As policy-makers and researchers, SFC produces a high volume of publications. Public domain images, due to their abundance and easy availability, worked perfectly for this. The images underwent a visual treatment, where cool and warm colours were used to denote effects of global warming. In certain collaterals, SFC, as a black band cutting across the page, represented the mediator driving change between the cause and effect.

Each gradient combination corresponded to a different sector of SFC’s work: from climate policy to adaptation and resilience.

Operating on an academic and institutional level, the branding had to look formal and legitimate but also capture the collaborative’s vigour. Natural colours were used as restrained gradients to evoke the impact of global warming, as well as the hope for progress towards a brighter, sustainable future.

Owomaniya 2023 is a report in the form of a microsite on gender diversity in Indian entertainment, presented by Amazon Prime Video, India Film Companion and Ormax Media, designed by Studio Ping Pong, with copywriter Nandita Singh and developer Studio Mesmer.

Started in 2022, is a first-of-its-kind report on Indian entertainment, which involves the whole industry in its data collection and presents facts for a wider audience in an accessible manner. Owomaniya 2023 comprises this year's data alongside a comparative analysis of last year's report.

The report is an exploration of unconventional yet accessible data visualization. In line with the 2022 report, the raw data was translated into visuals inspired by the world of film and the experience of watching them – such as ticket stubs, clapboards, and spotlights. Visual representations were also inspired from the data content, e.g., the Bechdel test, and the limited shows that qualify for it, are conveyed using zipped mouths.

The font and colours used are consistent with the 2022 report. Bold, bright colours distinguish between categories and make the information stand out, while black acts as a neutral base. The fonts, Euripides, Gill Sans Bold Extra Condensed, Lexend Deca and Manier, are selected to be easily readable on any device. Additionally, small animations are peppered throughout the report to prevent monotony.

Using data across various forms (long-form, infographics, quotes, illustrations, data viz, listicles, and videos) to create a report that can appeal to and inspire a wide audience to combat gender disparity.

HumTree is a small batch fair trade brand with products sourced from Sundarbans, India. Out to prove that affordable does not have to mean low-quality, the brand has two aims: offering high-quality at accessible prices and giving back to the local forest workers by generating employment opportunities.

Studio Ping Pong worked with HumTree to create the brand name, brand identity, and packaging for their honey, helping to bring their story to life. HumTree works with indigenous communities of Sundarbans using forest-friendly practices. This sense of harmony and community was highlighted in the naming and branding. Hum, from the Hindi word for ‘us’ and the sound of bees, and Tree, reflecting its commitment to natural practices.

The visual design was made using linocut-style hand-drawn motifs and illustrations inspired by imagery from nature. Evoking the harmony of flora and fauna that the brand stood for and highlighting the handcrafted nature of its products.

With families and children as one of their identified customers, use cases were added to the packaging itself bringing out the unique benefits of each of the variants.

The logo was created using custom lettering, borrowing from vernacular alphabets (M) of the region. A modified Pally was used for titles and subtitles to stand out in shelves, while Basic Sans was used for body text. Good Dog New and Chantal was used within the packaging to complement the hand-drawn style illustrations.

The colour palette was kept to earthy greens and browns, evoking the forests where the products were made. The honey packaging relied on heavy use of deep brown-the colour of the honey, along with flavour based tones of magenta, green and gold.

Little Lot is a private label brand by Fresh Aisle, a gourmet grocery chain in Calcutta, India that offers a range of small batch world cuisine products with the aim of making gourmet food accessible.

We worked with them to create their brand name, identity, and packaging, helping to showcase their wide array of products. Little Lot's biggest unique selling proposition is its small batch fresh food. The brand name reflects this concept, and the identity further emphasises the hero ingredients and the individuals responsible for making these products.

The logo was designed keeping in mind the expansive product range, and was kept minimalist but fun to let the individual products shine.

The products featured bold, colourful, appetising food illustrations that would indicate what was inside the boxes and jars. These were deliberately made extra saturated to stand out on shelves and look extra delicious. Mallory Narrow Black as the primary font was used for the product names and Work Sans variable for the body and additional info. These were chosen with the supermarket setting in mind, with bold letters that would contrast the illustrations and draw the eye.

The packaging was done to let the ingredients and product take centre stage and convey that all the products are freshly made. Little Lot's primary objective was to make gourmet food for everyone, so each product provides instructions on how to incorporate them into everyday cooking and suggests suitable pairings.

Conscious Food has been a pioneer in providing high-quality organic food options to the Indian consumer market since 1990. Studio Ping Pong came on board to design the packaging for their new range of Toddler Foods.

The entire instant mix range was divided into three categories: Dosas, Chillas, and Powders. Each category was given a special color palette and character.

We used this as an opportunity to conceptualise scrappy characters that get their superpowers from the ingredients of each product. The craft paper, a recurring element in Conscious’ products, was made an active participant within each box, serving as a prop essential to the story.

Hoss Round was chosen as the primary typeface after looking at various competitor brands on the market. As a rounded font, it perfectly captured the playful yet serious essence that the brand wanted to convey with these products. Manrope and Edu SA Beginner were used as secondary typefaces, the latter being a font used in South Australian primary education, in keeping with the theme of the products.

The packaging content was designed keeping in mind that parents are extremely mindful while picking up products for their children. They want the best nutrition and want to know all the benefits straightaway. Hence, each box came with markers for good micronutrients as well as smaller blurbs calling out comparative benefits.

Aimed to win over both younger audiences and parents, the new range maintained Conscious’ familiar minimalism and craft paper, while introducing a fresh new approach.

Illustrations: Shivani Danave

Tramways is a speciality coffee brand in India that is out to change the perception of craft coffee as prescriptive and intimidating. Founded by firm believers of coffee being savoured however ones likes, Tramways is a line of transportive coffees that lets people enjoy coffee at their own pace. The visuals were created to echo the experience of savouring a cup of coffee inspired by the brand’s tagline of “pause to brew, brew to pause.”

A two-colour approach was used, with the paper’s base providing the third colour. The two brand colours, yellow and blue symbolise the colours often seen in Calcutta trams, the namesake and the origin city of the brand.

Rather than going into the origin and complex flavours, the world of craft coffee was simplified by focussing on the outer coffee wheel of nine major flavours: citrus, smoky, nutty etcetera. Unlike instant coffee where the communication revolves around energy and the fast pace of life, emphasis was placed on slowing down and enjoying the process of making as much as drinking.

The packaging features two major illustrations, both of which are surreal and whimsical. These embody the worlds that coffee has the power to transport users to.

All Round Gothic is used for the logo and tagline, and smaller body copy is set in FF Basic Gothic. The typeface selection aims to compliment the thin lines of the artwork with a rounded, slightly nostalgic letterforms to match the idea of the old trams and harken to a slow-paced life.

Each coffee variant is also depicted via a sticker with important information about roasting, flavour, and batch. Taking customisation one step further, another sticker with an icon of the brewing method completes the packaging and makes it even more personalised.

Studio Ping Pong worked on the rebranding of College Lab, an overseas education consultancy that specialises in student management and guides them to get admission in the college of their dreams, to stand out from the competition and gain the trust of students and parents alike.

Instead of stressing on the exam results or grades of the students, we decided to shift the focus on what College Lab does right – guiding the students to achieve their goals by honing in their individual skills. With the metaphor of a Northstar, College Lab became their shortest distance to this target. The visual identity focussed on the strengths of the students and how the company effectively nurtured each of them to help achieve their goals.

A fearless typeface (Bely Display by Roxane Gataud) accompanied by the Northstar became the brand logo, ditching the over-used symbols of books and graduation hats. Georgia (Matthew Carter) and HK Grotesk (Alfredo Marco Pradil) are used as brand fonts. The typefaces were chosen to ensure that the brand looks like a legit consultancy in a sea of boring-looking academic platforms. The idea was to stay away from standard sans-serifs and have something that is modern and characteristic. Something sturdy and solid to represent the brand's values.

Using visual metaphors like arrows (for direction), the North Star (their final goal), and stationery, we created a vibrant identity that would not only engage the students but also assure the parents.

The brand’s multiple digital and print touchpoints for onboarding students were broken down into easy-to-understand infographics and illustrations to engage young minds and ensure that education material does not need to be boring and bland to be taken seriously.

Animation by Aarti Bhalekar