Praline is a bakery that does not exist, and the identity built for it treats that freedom as licence to be loud. The system runs on a butter-yellow and bubblegum-pink check that behaves less like a background pattern than like the brand's primary asset, wrapping boxes, bags, coasters and menus until the colour pairing alone does the identifying. A deep chocolate-brown serif sits on top of it, set wide with slightly soft letterforms, while a hand-drawn café figure in a beret supplies the wink.

The work is a self-initiated concept by Ukrainian designer Yuliia Hrabynska, developed against a brief from Briefcorp rather than for a working pâtisserie. That origin shows in the best way: with no real stakeholder to satisfy, the brand identity commits fully to its own logic, pushing the check to full bleed and letting the copy get cheeky. Stamp-like ovals carry lines such as “Pardon My French, Pass the Croissant.” and “Too Good to Eat Here Only.”, giving the packaging a speaking voice before a single pastry is in shot.

Across the range the check changes scale but never colour, which is what holds everything together as it moves from a slim pastry sleeve to a full gâteau carton. The wordmark is frequently cropped hard by the edge of the box, running off the panel mid-letter so the type reads as pattern as much as name. Supporting information is set small and centred — a numbered index of the menu, from artisan bread at (01) through to tarte tatin at (10) — borrowing the tone of a vintage product catalogue.

The same system stretches comfortably into the parts of a bakery a customer actually handles. Drinks cups, carry bags and a folded menu all take the check, while the menu interior switches to a flat yellow ground so the pricing stays legible against all that pattern. It is a sensible piece of restraint in a project that otherwise enjoys turning every available surface into a checkerboard.

Away from packaging design, the identity contracts into a single mark: a brown ‘P’ paired with the seated café figure, small enough to sit on an apron chest or a cap front. The illustration carries most of the personality at these sizes, where the check would collapse into mud. Scalloped die-cuts on the coasters and box handles pick up the curve of the letterforms, a small detail that keeps the physical pieces feeling drawn rather than templated.

What keeps the concept from tipping into pastiche is the discipline of the palette: four colours, used consistently, with no gradient or texture asked to do extra work. The photography leans on warm, grainy interiors and gold fluted backdrops that suggest an old Paris café without staging one literally. The full project and its additional applications are published on Behance.