The eighteen studios cover the printed matter that comes up again and again. They do not cover the piece your scene actually turns on — the brand a production invents and then has to carry across thirty objects, the document nobody has photographed since 1954, the label in a script the generators have never been taught. That work is designed for you, remotely, and delivered print-ready. When it is a whole world rather than one piece — a firm and everything it touches — see Build a World, in three fixed sizes.
Chronotype is built and run by Panagiotis Zachoulitis, a set graphic designer in Athens, on international features and series. Commissioning is the same person, the same research and the same output — with the drawing done for your scene instead of by a rule set. The licence and its certificate of originality carry the same name.
Not a menu — these are the jobs that actually come in. If yours is not on it, it is still worth asking; the answer is either a price or an honest no.
One invented house carried onto every object the camera will find — bottle, tin, carrier bag, delivery note, van door, the sign over the shop. Same printer, same decade, same hand. Continuity is the job; a single label is the easy part.
Anything that fills the frame has to hold up at 300 mm: real type on a real grid, the small print set the way the trade set it, the printing method of the year it claims. Drawn at the size it will be read at, not enlarged from a thumbnail.
Police paperwork, manifests, licences, ledgers, medical records — real form numbers, real field order, real ruling. Every crest and issuing authority invented, so the paperwork reads true and clears.
Greek, Cyrillic, Arabic, Japanese; a country whose labelling rules are not in the generators. The research is the work — what a form looked like in that place in that year, and what it was legally obliged to say.
A director asked for something by name and legal said no. The answer is a design that carries the same weight in frame and belongs to nobody — same period, same shelf presence, its own identity.
What is on the practical monitor, the departure board, the shop fascia, the wayfinding. Built for the resolution and refresh it will be shot at, so it does not strobe or crawl on the day.
Most enquiries take two rounds of email before anyone can say a number. These are the seven things that decide it — send them in the first message and the reply is a quote instead of a questionnaire. The button below opens a mail with them already in the body.
Quoted per job. What moves the price is the research depth, how close the camera gets, and how many objects have to agree with each other — not the number of files.
The studios stay free either way. Commissioning is not a paid tier of the generators and nothing is held back from them to sell here. If the studio makes what your scene needs, use it and pay nothing; a licence only applies when the prop ends up in something sold, broadcast or commissioned, and it is banded to the budget. This page is for the work the studios were never going to reach.