A whole franchise across four verticals — or just the piece you need. With production bibles and clean chain of title. Scope and timeline agreed before we start.
One property · four verticals · one temperature
Most studios show you what they have and hope it fits. We start from the gap you already know you have — a territory, an age band, a format, a slot in next year's slate — and build the property against it: character, world, and the four verticals it has to live in. Coherent from day one, not retrofitted after a first success.
Nano, Lúna and Miru were built exactly that way, on our own brief. They're the portfolio, not the pitch.
Something breaks out. Suddenly everyone wants one, and what lands on your desk is the same idea you already passed on twice — or a property that will take two years to be ready. By then the window has closed and somebody else is in it.
That's exactly the job we're built for: a hundred pages of finished editorial, an audiovisual concept with music and character voices, EdTech that runs, and a product range designed and argued as a business. Coherent with each other, and inside the window.
Lúna took one month. Miru took two. Nano took six, because it produced far more assets than the other two. Each one resolved across four verticals, each with its bibles written.
Your timeline gets agreed with your brief, because a single picture book and a four-title series aren't the same job. What doesn't change is how coherent it comes out.
Most IPs earn a personality after they succeed. Ours are born with one.
Finds the void — a cultural tension no character answers yet.
Proves the character can hold it, before a euro is committed.
Give it one body — the same someone in publishing, screen, EdTech and product.
Recognize the character anywhere, instantly. Otherwise it isn't personality yet.
All four together are what we call Personality by design.
Tell us what you're missing and we'll tell you, straight, whether it's something we should build. Sometimes the answer is no.
contact@ipfrontierstudio.comThe opportunity can come from anywhere: an age band left uncovered, a territory with no local property, a category that has just opened up. You see it coming; we read it with you and turn it into a property. We work side by side, from the first conversation through to delivery.
The ideal is a 360 license: character, world, tone, and the logic that holds it together across all four verticals — so it reads as the same someone in a book, on screen, in a classroom and on a shelf. But if what you need is a single vertical, that licenses on its own too. Both are good conversations.
A Strategic Bible for the people who decide, a Fabrication Bible for the people who produce, and a QC Checklist so coherence survives contact with a production pipeline. Same source, no drift between them.
Single ownership. No co-authors, no fragmented territories, no prior derivative work to untangle. Due diligence that takes an afternoon, not a quarter.
The rare part isn't doing it fast. The rare part is four verticals coming out of the same place, with nothing to reconcile afterwards. That's what lets a property arrive on time without arriving broken. Personality and cross-vertical coherence from the very start.
We come out of that conversation with a written brief, agreed by both sides. Scope, verticals, deliverables and timeline are fixed there — not later.
Before anything gets drawn, the direction goes through our two tools: one to check the gap is real, one to stress-test whether the character can hold it. If the answer comes back weak, you hear it then, not at delivery.
Four verticals at the level set out below, with the documentation inside. Not a concept for your team to develop — a property for your team to produce.
In editorial and EdTech we deliver finished product: the book exists, the platform runs. In audiovisual we deliver a usable pilot — it can go live on platforms, and it works as a real base for developing the series afterwards. In product we deliver mockups and prototypes, coherent and inhabitable within the core of the IP; volume manufacturing sits with industrial partners, as it does in any licensing program.
In all four, the personality is already resolved and connected by the same narrative. Your team doesn't have to invent anything — it continues something that is already standing.
| Vertical | What we deliver | Level |
|---|---|---|
| Editorial (EN/ES) | Manuscript, illustration, finished book | Finished product |
| EdTech | Working platform and activities | Finished product |
| Audiovisual | Pilot of up to 5 minutes, pitch bible and script.Moving image, music, character voices and a defined world style. Publishable on platforms and ready to build the series on top of. | Deliverable pilot |
| Product | Line design, mockups, prototypes and range proposal with its business case.Volume manufacturing with industrial partners. | Prototype and range |
If, reading the brief, we can see a trend will have cooled by the delivery date, or that the premise doesn't hold in that age band, we put it on the table in the first conversation and look for an angle that does work. There almost always is one.
And we ask to be credited as co-creators. It isn't about ego — it's what keeps the same person looking after the property as it grows.
Every commission is structured differently. These are the questions that come up in almost every first conversation — if you have others, write to us and we'll work through them, with no commitment.
It's agreed before we start and written into the brief. The usual shape is co-ownership with co-creator credit, always with a clean chain of title: single ownership at source, no hidden co-authors, no fragmented rights.
It depends entirely on scope and on what each side brings — one title isn't a four-title series, and a full 360 isn't a single vertical. We work it out together in the first conversations and close it in writing alongside the brief, before anything starts.
It depends on the commission. For reference, our own properties have taken between one and six months depending on the volume of material. The timeline is fixed in writing before we start, and it doesn't move.
No. We deliver the pilot and the whole base for the series to be built on top, and from there we work with your team or your studio: season planning, arcs, episodes and world continuity. Industrial production is yours or your partners'.
The agreed brief is the reference point, and there are reviews built into every milestone rather than only at the end. We'd rather show early and correct together than deliver a surprise.
Yes, bilateral and before anything is shared. All enquiries are confidential by default.
They exist in full: written, illustrated, animated, scored, voiced, and with the world already built. They license as a 360 or by single vertical — and they're also the clearest answer to what a commissioned property from us looks like.
The caterpillar who asks before it acts
A calm-storytelling preschool property built around implicit cognitive development. Nano observes before acting — a structural answer to a parental tension around overstimulation and emotional regulation in early childhood.
40+ assets in EN and ES. Plush prototype, EdTech platform and a full Fabrication Bible under NDA.
Editorial, audiovisual, EdTech and product.
Where the big questions live
A transmedia property built on the questions children carry into the dark before sleep: death, identity, the universe, the invisible. Las Grandes — five lights that visit her room, each one a question, none of them an answer.
The first children's brand to make the existential question of childhood its entire subject, in a space that was still unclaimed across four linguistic markets.
Illustrated world, book, trailer and interactive demos. EN and ES.
Editorial, audiovisual, audio-first and EdTech.
Grown-ups have weather too · The Summer We Saw Margaret
A six-year-old boy, a tired mother, a ferry into the fog, and a grey whale that has a name. The property parents and children watch together: a child sweet-spot of 6–10 with an emotional layer written for parents of 30–50.
It came out of the strongest signal we've recorded — the everyday moment when a grown-up comes undone, and the child who waits for them to come back to themselves.
Editorial
The Summer We Saw Margaret
Novel · 10-page sample
EdTech · playable
Miru's Ocean Atlas
Seven aquariums · sourced facts · diploma
Screen
Feature treatment
Pilot in production · autumn 2026
Novel, screenplay and feature treatment. A working EdTech platform across seven aquariums. Product and licensing line designed. Notebook, museum and lighthouse built as part of the world.
Three verticals resolved and open to read. The audiovisual pilot lands in autumn; the property opens for licensing with it. Visual lane: 3D painterly.
A license doesn't end on the day it's signed — that's where it starts. We work alongside the house that takes the property throughout: world continuity, cross-vertical coherence, territorial adaptations and the decisions that keep coming up. Constant collaboration, not a hand-off and goodbye.
The 360 is the ideal, because that's where the coherence really pays and where brand value compounds. But it isn't the only door, and all of them are open.
One house takes the whole property and works it across all four verticals. The Fabrication Bible and QC Checklist travel with it, so coherence survives every hand-off — and we stay alongside for world continuity as it grows.
Editorial, audiovisual, consumer product and EdTech can each stand on their own. If what you need today is the book, or the series, that's a perfectly good place to start — and the rest stays coherent if you come back for it later.
Territory by territory, with cultural and linguistic adaptation made from the same narrative core rather than bolted on afterwards. The property reads as itself in every market it enters.
Beyond the pilot, we plan the series with you: season, arcs, episodes and world continuity, working with your team or with the studio producing it. We bring the narrative and the coherence; industrial production stays with you.
We built two instruments because working on instinct alone was costing us properties that didn't hold up.
The cultural tension no character is answering yet. It reads what parents, teachers and psychologists actually say, across a dozen languages, and throws away almost all of it. What survives is where we start.
A couple of early properties didn't survive that check. They were well advanced and we stopped them. Better to lose a few weeks there than a year later.
Before anyone commits budget. Six dimensions, a documented verdict, and the weak points named out loud. Nano came back with its saturation problem written on the page. We'd rather know.
They're the reason a commissioned property doesn't come out generic. The full specification is public, and the engine itself is licensable if you'd rather run it on your own pipeline.
Systems architecture: I build properties that are ready to license. Two decades writing fiction, which is where the craft comes from, on top of an orchestrated production stack — programs, software, pipelines and the website you're reading, all built and maintained inside the same studio.
Nano, Lúna and Miru were developed and finished under this system: three complete properties, four verticals each, coherent across every layer. From the first signal to the fabrication bible.
Tell us the gap, or ask for a dossier. NDA available before anything is shared. We answer within 48 hours.
contact@ipfrontierstudio.comAll enquiries confidential by default.