Every studio is free and open in your browser — no account, no trial, no crippled export, no watermark. When a prop ends up in something sold, broadcast or commissioned, one licence covers the whole workshop for that title, and comes with the signed certificate of originality your production office files. Priced against the budget, the way every other line in the art department is.
Coursework, student films, fringe and amateur theatre, portfolio pieces, festival entry. No fee to anyone on the production.
It is the same app. The free tier is not a demo.
Paid, but barely. Shorts, low-budget features and docs, ticketed fringe theatre, self-funded and grant-funded work.
Declared budget, taken on trust. No audit, ever.
Feature, television drama, streaming, advertising, corporate — anything with a financed art department behind it.
Licensed to the production company, not to one person.
Production companies, prop houses, broadcasters and studio art departments running more than two titles a year.
Cheaper than four titles. Pays for itself on the third.
One licence, the whole workshop. There is no per-studio fee any more. Newspapers, labels, packets, posters, documents and the pharmacy are all covered by whichever band you sit in — because a production that needs a cigarette packet on Tuesday needs a broadsheet on Thursday, and that was never worth three invoices. Not sure which band? Take the total production budget, not the art department's. If it is genuinely borderline, write and we will call it the lower one.
There is no activation, no licence check, no telemetry and no network requirement in any studio. They run offline, on set, with the Wi-Fi down. That is a deliberate choice, and it means the licence works because you choose to buy it.
The licence does not expire, is not withdrawn if you stop paying anything, and does not depend on this site still existing. Your copy keeps working.
Sell the props you print — they belong to you. What you may not do is sell or redistribute the software itself.
Every studio runs in the browser. Projects, photographs and galleries stay on your computer; nothing is uploaded and nothing is published.
Not because anyone is watching — nobody is. Because printed matter in frame has to be cleared, and the certificate is what clears it. No licence, no certificate, nothing to give the production lawyer or the E&O underwriter. That gap turns up at delivery.
| Free | Small | Production | Company | |
|---|---|---|---|---|
| Every style, format, era and region | Yes | Yes | Yes | Yes |
| All eighteen studios | Yes | Yes | Yes | Yes |
| True-size PDF, layered SVG, tiling | Yes | Yes | Yes | Yes |
| Watermark on the output | None | None | None | None |
| Unpaid work, coursework, portfolio | Covered | Covered | Covered | Covered |
| Sold, broadcast, streamed, commissioned | Not covered | Covered | Covered | Covered |
| Signed certificate of originality | — | One title | One title | Every title |
| Titles covered | — | One | One | Unlimited |
| People in the art department | — | Unlimited | Unlimited | Unlimited |
| Offline copy for set use | — | Included | Included | Every machine |
| Support | — | Priority | Named contact | |
| Custom work included | — | — | — | 2 hours a year |
| Updates | Always | 12 months | 12 months | While active |
A PDF is not a prop until somebody has put it on the right stock, at the right weight, with the foil and the die-cut and the fold. These are quoted per job.
Correct stock, foil, emboss, die-cut, varnish, folded and boxed — shipped to the unit base anywhere. You approve a proof; the crate arrives.
A school licence covers every student and every graduation film, with the Knowledge Base as course material and a workshop on the craft behind it.
A prop no generator reaches, or a production's invented brand carried across every object in the scene. Athens-based, working remotely with productions anywhere.
Total production budget, not the art department's. Nobody paid at all — free. Under €250,000 — small production. Above it — production licence. More than two titles a year — company licence. It is a declaration, not an audit; nobody is going to ask for your budget top sheet.
No. If nobody is being paid, the free tier covers it — including festival entry, awards submission and your portfolio. That does not change if the film later gets picked up; write then and we will sort the band out.
Because a licence is a budget line, and budget lines belong to productions. It goes on the art department schedule, it gets reimbursed, and it disappears when the show wraps. If you run several titles a year the company licence is cheaper by the third one — take that instead.
The clearance file. Production legal and the insurer need to know where every graphic in frame came from. The certificate names your title, the studios used and the date, and states, signed, that the artwork those studios generate is original and wholly fictional — no real trademark, masthead, product name, barcode authority or issuing body. It is the document for the file; the clearance review of the finished prop stays with the production, as it does for everything else in frame. It is issued within a working day of the licence, and re-issued free if the title changes.
No — nothing is gated, so start working now. Buy the licence when the invoice is convenient. The licence is what makes it legitimate, not what unlocks it.
Your copy keeps working. There is no activation, no licence check, no telemetry and no network requirement anywhere in the app.
Yes — the printed props are yours. What you may not do is sell or redistribute the software itself. See the licence.
No, and it never will be. Every title, manufacturer, product name, code and authority is invented. The generators will not reproduce a real trademark, masthead or issuing authority, and are not for use on real goods, medicines or documents.
A proper invoice with the production's name and VAT number, issued from Greece. EU companies with a valid VAT number are reverse-charged; everyone else pays VAT at checkout. Purchase orders are fine.
Three addresses, and it saves a forward if you pick the right one. sales@chronotype.design for buying, quotes, invoices and purchase orders. support@chronotype.design once you have a licence — a lost download, a transfer, something not working, or a question about what the licence covers. research@chronotype.design for the Archive: a correction, a source, a date that is wrong. That last one is read by a person and usually goes in within a few days.