Original Cartoons Volume 2: The Frederator Studios Postcards 2006-2010

Edited by Eric Homan & Fred Seibert

Original Cartoons: The Frederator Studios Postcards 2006-2010 ©2010, JoeJack Inc. All rights reserved. ChalkZone, The Fairly Oddparents, Fanboy & Chum Chum, Nickelodeon, My Life as a Teenage Robot, and Random! Cartoons TM & ©2010, Viacom Intl., Inc. All rights reserved. Used with kind permission. Adventure Time with Finn & Jake, Cartoon Network,: TM & ©2010, Cartoon Network. A Time Warner Company. Used by kind permission. Channel Frederator is a registered trademark of Channel Frederator LLC. All rights reserved. Used with kind permission. Frederator Studios and the Fredbot Frederator robot are registered trademarks of JoeJack, Inc. All rights reserved. The Frederator Fredbot robot designed by Arlen Schumer. Frederator logo designed by Adams-Morioka, Beverly Hills, California. The Meth Minute 39 and Nite Fite: TM & ©2010, Bellport Cartoon Company, Inc. All rights reserved. Used with kind permission.

All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. First Frederator Books printing 2010

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Preface
By Bob Osher
Being an avid collector, the prospect of being one of “200 people” to receive limited edition Frederator postcards was intoxicating. Little did I know that I was only receiving every third card. I needed the others! E-bay was too expensive and time consuming.

As usual, Fred had the solution: a monumental publication chronicling the Frederator postcard. I realize that those of you unfamiliar with this collection will clamor for your fair share of future mailings, but it’s all in the cause of the simple postcard. You will forever abandon your e-mail, SMS, IM, Twitter account and mental telepathy in favor of this simple, elegant form of communication. BRAVO, FRED! Bob Osher is the president of the Digital Production division of Sony Pictures Entertainment

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Fred's intro X X X X X X X

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The Eric Homan Interview By Michael Goldman

If he were a cartoon character in a Frederator Studios’ cartoon, it might be tempting to portray Eric Homan as Fred Seibert’s sidekick. In truth, however, he’s far more than that, and crucial to all that Seibert and his chums at Frederator have accomplished in recent years. Homan’s work has also greatly impacted millions of kids and adults who enjoy the cartoons broadcast by Nickelodeon and Cartoon Network every day that Homan helped nurture into reality. Seibert, of course, started Frederator in the late 1990’s after first resuscitating, and then exiting the broadcast world’s most legendary cartoon factory. Hanna-Barbera, of course, had been swallowed up by the corporate behemoth at long last, and it was time to go. But not before Seibert and his colleagues restored the original spirit and intent of the place with the “What a Cartoon!” shorts’ program, which gave the world a new generation of short cartoons to enjoy, some of which (Dexter’s Laboratory and The Powerpuff Girls, to name just two) went on to carve out prominent places of their own in the world of animated television. That philosophy was rapidly ported over to Frederator, and revolves around the notion that the art of the short cartoon is not only something to be fondly celebrated as a reminder of a gentler era—it’s also a hell of a good way

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to find the world’s finest, and funniest, creative talent and then put them to work making commercially viable (well, sometimes anyway) cartoons for children of all ages to enjoy on television. Thus, Frederator’s Oh Yeah! Cartoons and, now, Random! Cartoons, were born to follow in the footsteps of What a Cartoon! Long ensconced at the center of the madness that followed in the form of shows like The Fairly OddParents, My Life as a Teenage Robot, ChalkZone, Fanboy and Chum Chum, Wow! Wow! Wubbzy!, Adventure Time with Finn and Jake, and many more is Homan, Frederator’s VP of Development and Creative Affairs. He’s a former English teacher, radio reporter, and more importantly, Homan is one of Seibert’s co-conspirators in promoting the antiquated notion that talent first, talent unfettered, talent encouraged, and talent unleashed is the best way to not only have fun making cartoons, but to engage responsibly (or, at least semi-responsibly), occasionally even successfully, in the cartoon business. I recently sat down with Eric to discuss this philosophy and how, and why, it works at Frederator, even on a radically evolving economic, social, and technological landscape. Eric warned me he “is not used to interviews,” but did concede he knew a few things about the cartoon business, and so, with some coaxing, I got him to impart some of that wisdom here. He agreed this book was a good home for our discussion since, after all, he is particularly fond of both postcards and cartoons.

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Michael Goldman: How and why did you get together with Fred Seibert and decide to spend your career dwelling in the world of short cartoons, of all things? Eric Homan: I met Fred when we happened to start at

Hanna-Barbera Studios about the same time in 1992. Of course, he was the president of the studio, and I was a cel cleaner in the animation art department, so we were at complete opposite ends of the employee spectrum. But that’s where I met him, and except for maybe a year and a half break in the late 1990s, I’ve been with him for the past seventeen-plus years. At the point when Warner Bros. bought Turner Entertainment at the end of 1996, Fred left Hanna-Barbera, became an independent producer, and went back to working with Nickelodeon [a network Seibert first worked with in its early years after helping to pioneer the branding of its then fledgling sister network, MTV]. I stayed with Warner Bros. for about a year and a half, working for their studio stores, managing the production of Hanna-Barbera collectibles sold in those stores back in the previous century. But less than two years later, I was back with Fred. By that time, Oh Yeah! Cartoons was up and running with a couple of shorts already in production. He had just bought an independent comic book company [the former Kitchen Sink Press] and wanted some help developing some of those properties for TV and movies, so I went back in the

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summer of 1998. I was glad to be indoctrinated in Fred’s development strategy, the same one we have today.
MG: And what is that exactly? EH: It’s the same shorts-show master plan Fred uses every few years. At Hanna-Barbera, it was called What a Cartoon! It’s where Dexter’s Laboratory, The Powerpuff Girls, and a bunch of other shows for Cartoon Network got their start. Then, around 1997, he went over to Nick and produced the same kind of program, naming it Oh Yeah! Cartoons. The Fairly OddParents, My Life as a Teenage Robot, and ChalkZone incubated there over a three year period.

There was a bit of a break after that and then, in 2005, we went into production on what’s now called Random! Cartoons. We did the same basic thing and it’s already given us the series Fanboy and Chum Chum and Adventure Time with Finn and Jake. Hopefully there will be a few others. The philosophy of any of these shorts programs is we can find great new talents, and we can get them experienced making films by the time any of them have an opportunity to showrun a series. In the case of Butch Hartman, he had already made ten Fairly OddParents shorts as part of Oh Yeah! by the time Nickelodeon picked it up as a series. That really proved Butch had what it takes to be a creator, run a production, and get the job done.

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MG: And you have other Butch Hartmans coming out of the Random! program right now?

Fanboy and Chum Chum was created by Eric Robles who was in his early 30s when we met him. He had worked at almost every major studio in a variety of capacities, from design to development, and he was pitching things around town. Fred and I were big believers in Eric when Random! Cartoons came up, and we invited him to pitch. And Eric’s not a guy to miss an opportunity. He showed so much talent with his pitch board. Once we gave it the greenlight, he just took off with it. It’s a perfect example—on paper, his idea for Fanboy and Chum Chum didn’t set the world on fire, just the idea about two crazy kids who are in love with being kids. It was hard to get excited just about the log line. However, after his compelling pitch, and then his execution of the seven-minute short, you saw how funny it was, and how developed the characters were, so we were able to use that film to sell the series. It was easy to believe in Eric and I’m glad we got to help him get the show across the finish line, but it was his talent and passion and creativity that made the whole thing work. In the end, that’s what we try to do—be a talent-driven studio. The other example is Pendleton Ward. In his case, you couldn’t not fall in love with his student films at Cal Arts, so I encouraged him to pitch for Random! Cartoons, which

EH: I’ll give you two examples. The Nickelodeon show

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he did. Because the shorts program was made up of an order of thirty-nine cartoons, we were allowed to take bigger risks than, say, if the order was for just six. That allowed us to give Pen that opportunity without a great expectation about what might come out of it. In fact, his pitch was very distinctive, very creative, but it sure didn’t seem too commercial. But it was so different, we knew we had to give Pen the chance to make his film. It was special and we wanted to see what would happen, but didn’t entertain a lot of hopes about whether it might become a series. But he did a great job with his short, and Cartoon Network decided we should put it into production, and that’s how Adventure Time with Finn and Jake came about.
MG: So, for you guys, what’s the deal on how to balance

business with creative freedom? In this economy, I can’t imagine you have resources to develop every funny thing that passes across your desk.

EH: That’s true, but keep in mind these are short, independent films to start. Frederator runs the shorts program, but it’s the filmmakers who come in and make them. They’re ultimately responsible for all the creative decisions. The creators will get the network’s standards and practices notes and we’ll give them our two cents; whether or not they act on those suggestions is up to them. So, we give them enough rope to hang themselves creatively. We are trying to see what they will do with the opportunity. It’s really more about finding special filmmakers than their

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particular shows. We are investing in the talent more than the projects. We are looking more for hit-makers than hits, if that makes sense. One of the things about doing a large volume of cartoons is we know up front that we’re not going to get thirty-nine series out of them. When we produce thirty-nine shorts, if we get four series—about ten percent—that’s a great success. So it pays to have this program up and running—to find that talent that can make up that ten percent. And, I should add, just because a short doesn’t go to series doesn’t mean it wasn’t great, or the people who made it weren’t great. Yes, the networks trust us to deliver them hits, but even if we get misses from extremely talented filmmakers, we know we’ll have an opportunity to try again with them later. The other thing to keep in mind is that, with these shorts, development work is done by the filmmakers. They develop it and then pitch it to us. If we like it, we help get it made, and then, once it is made, that’s when we really get to work with the filmmakers to help them try to sell and then develop their property as series. But developing the property initially as a short is not what we’re about; that’s what the filmmakers do themselves. It’s not like we’re cartoon creators. We do our best to recognize talent and potential, and people willing to work really hard to succeed. We are doing that both with our TV and feature film properties.

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MG: So, what has changed then in the years between

Oh Yeah! and Random! in terms of finding new talent and properties?

EH: I’m not so sure that finding properties has changed much at all. As independent producers, we have to find them, and then we have to sell them. Finding properties is the same just because there are always people out there with good ideas and great talent. But selling their work has become more difficult because of the economy and the nature of changes within the industry. We are lucky— we have a first-look deal with Nickelodeon and they have great respect for new talent and for what we do. But that’s the difficulty.

As far as talent goes, though, we’ve always brought in ace talent that has gone on to do terrific things at Nickelodeon, Cartoon Network, and elsewhere—talent that entered those studios through Fred’s shorts programs. For example, Seth McFarlane’s first professional film was an early version of Family Guy back at Hanna-Barbera for What a Cartoon! The original What a Cartoon! program had cartoonists including Genndy Tartakovsky (Dexter’s Laboratory, Samurai Jack), Butch Hartman (The Fairly OddParents, Danny Phantom, T.U.F.F. Puppy), and Craig McCracken (The Powerpuff Girls, Foster’s Home for Imaginary Friends) come in, and at that point, their original shorts were about showcasing them. I’m biased, of course, but to me, Cartoon Network was built on the backs of the work

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done by Genndy and Craig and the shows that came out of that original shorts program. But the way we find them hasn’t changed much. Obviously, when I started development work with Fred, I wasn’t yet going online to find independent filmmakers. But you still go to film festivals and student film nights at animation schools. Plus, of course, we have a wide open door for anybody with an idea for any kind of cartoon—they can always come in and pitch us.
MG: Speaking of websites, what role has the Internet

played in how you develop, make, or distribute cartoons? I notice a wide range of shorts are available at www.frederator.com and elsewhere across the web—how has that impacted your traditional approach?

helped us sell a hit. A big reason Adventure Time became a series was because we put the original short online. It was, at the time, a very different type of cartoon that you didn’t see on television. We put it on YouTube and it was an instant success—about two-hundred-thousand views in the first weekend alone, up to several million views eventually. A huge Internet buzz followed and it became a success. But that also coincided with a time in which Cartoon Network wanted to go, programming wise, in a bit of a different direction and this cartoon worked really well with that.

EH: Actually, more than helping find a hit, the Internet has

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MG: You mentioned feature films earlier. Frederator, of

course, is best known as an independent production company for broadcast. Can you bring us up to speed on the feature film initiative and where you see that heading?

EH: We’ve recently signed a first-look deal with Sony Pictures Animation, so Fred and I, along with Kevin Kolde and Carrie Miller, who make up the other half of Frederator, are searching for filmmakers with feature projects to take in, just like we’re searching for talent in the shorts program. Like with the shorts, we want our films to be very creator driven, so we’re now investing in filmmakers we believe in. We’re optimistic we’ll have a couple of films in production shortly, with more to come.

My guess is that many of our feature projects will involve filmmakers we’ve worked with before in the TV business. There has traditionally been a pretty strict line in animation between the broadcast people and the feature people. In TV, it’s not uncommon for artists to be journeymen and go from studio to studio, and project to project, but not as much crossing that great divide between TV and features. But, hopefully, we’ll be presenting a lot of fantastic television talent to the feature world. I should also mention we’re putting together financing and distribution for a slate of hyper-low budget features, too. Much more niche-oriented, but still creator-driven. I’m really excited about these.

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MG: So what’s your advice then for all those cartoon geeks

out there, talented but with no direction on how to create a story, pitch it, and pursue their cartoon dreams?

you’re creating; though you’ll ultimately need to please your audience, don’t create just for the sake of selling. I also think it’s vital to learn as much as you can about the animation process. Clearly, the creators behind most of the successful cartoons are artists or cartoonists at one level or another. If you look at your favorite cartoons from the past twenty or so years, you’ll find the creators—from Mike Judge to John Kricfalusi to Genndy Tartakovsky to Butch Hartman, or Matt Groening or Seth McFarlane—all of them are cartoonists. I can’t think of too many successful cartoons created by people who couldn’t be part of the animation process. That’s not to say you’re automatically discounted if you can’t draw. I remember, for ChalkZone, (co-creator) Bill Burnett came in to us as a writer. He had a stack of ideas and Fred introduced him to a bunch of directors. Bill went off and partnered with maybe five different directors to do a variety of cartoons, and it just so happens the one he developed with Larry Huber, who is a longtime animator, was ChalkZone, and that one got to the finish line and became a series at Nickelodeon. But, even in that case, it wasn’t until Larry Huber came on board to develop it as a cartoonist, and brought that cartoonist’s mindset, that it moved to that next level.

EH: In the commercial world? Be passionate about what

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Also, especially for television, focus on strong characters. Audiences want to fall in love with characters. The coolest idea in the world won’t mean much week after week if your audience doesn’t care about your characters. This may not be the best analogy, but you’d rather hang out doing nothing with your best friend rather than spend time with some dullard doing something that’d otherwise be interesting, right? Finally, the odds against you selling a show are enormous. If I were out there trying to sell my own show, I’d research how those who did get their shows made and learn lessons from them. But still, it’s tough. Only get into it if you really enjoy it—but then, I guess that’s true of any field, right? Michael Goldman is a longtime entertainment industry journalist who has interviewed most of the world’s leading filmmakers, and covered animation, visual effects, cinematography, editing, and film and broadcast production and post-production for a number of major publications in print and online. He’s a former editor at Variety, the former longtime Senior Editor at Millimeter Magazine, and the author of four books, with another one on the way. He lives in Los Angeles with his gorgeous wife, Bari, and two cartoon-obsessed sons, Jake and Nathan. You can keep track of Michael’s adventures at his web site, www.hollywood-scribe.com.

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Series 6 Postcards 2007-2008

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Series 6.1

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Designed by Lee Rubenstein Series 6.2

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Random! Cartoons logo designed by Michael Lapinski Inspired by Darron Moore Series 6.3

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Channel Frederator De-Lite Series 6.4

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Designed by Lee Rubenstein Series 6.5

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Series 6.6

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Castlevania: Dracula's Curse Conceptual illustration by James Jean Series 6.7

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Series 6.8

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Illustrated by Eugene Mattos Series 6.9

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George Seibert, 1950 Series 6.10

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Series 6.11

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Random! Cartoons logo designed by Michael Lapinski Inspired by Darron Moore Series 6.12

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Designed by Lee Rubenstein CG Fredbot by Magimation Series 6.13

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Frederator Bluebird Series 6.14

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Series 6.15

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Series 6.16

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Series 6.17

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Ape Escape Cartoons produced by Kevin Kolde Series 6.18

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Original Cartoon Inspirations Joe Barbera & Bill Hanna Photography by Jeff Sedlik, 1995 Series 6.19

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Election Day, United States, 2007 Series 6.20

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Series 6.21

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Random! Cartoons logo designed by Michael Lapinski Inspired by Darron Moore Series 6.22

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Frederator Liberty Designed by Lee Rubenstein Series 6.23

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Frederator Valiant Series 6.24

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Frederator Double Neck SG Series 6.25

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Series 6.26

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The Meth Minute 39 created by Dan Meth Series 6.27

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The Meth Minute 39 created by Dan Meth Series 6.28

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The Meth Minute 39 created by Dan Meth Series 6.29

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The Meth Minute 39 created by Dan Meth Series 6.30

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Postalolio directed by Marv Newland A Frederator Studios Producion Series 6.31

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Dan Meth & Frederator Studios present Drinking and Drawing Series 6.32

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Series 6.33

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California Primary Election Day, 2008 Series 6.34

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Adventure Time T-shirt Time!! with Pen 'n' Fred Adventure Time created by Pendleton Ward Series 6.35

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The Fairly OddGames The Fairly Oddparents created by Butch Hartman Series 6.36

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3rd Season Premiere! My Life as a Teenage Robot created by Rob Renzetti Series 6.37

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Election Day, United States, 2008 Series 6.38

Poster designed & printed by Hatch Show Print

Series 7 Postcards Random! Cartoons 2008-2009

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Solomon Fix created by Doug TenNapel Series 7.1

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Moobeard the Cow Pirate created by Kyle A. Carrozza Series 7.2

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Two Witch Sisters created by Niki Yang Series 7.3

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The Finster Finster Show created by Jeff DeGrandis Series 7.4

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Adventure Time created by Pendleton Ward Series 7.5

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Mind the Kitty created by Anne Walker Series 7.6

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Ivan the Unbearable created by Andrew Dickman Series 7.7

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Boneheads created by Polygon Pictures Series 7.8

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Tiffany created by Adam Henry Series 7.9

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Call Me Bessie! created by Diane Kredensor & Dana Galin Series 7.10

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Teapot created by Greg Eagles Series 7.11

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Hornswiggle created by Jerry Beck Series 7.12

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Hero Heights created by Raul Aguirre Jr. and Bill Ho Series 7.13

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Yaki & Yumi created by Aliki Theofilopoulos Series 7.14

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Gary Guitar created by Bill Plymton Series 7.15

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Krunch and the Kid created by Adam Henry Series 7.16

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Bradwurst created by Jason Plapp & Angelo di Nallo Series 7.17

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Dr. Froyd's Funny Farm created by Bill Burnett & Jaimie Diaz Series 7.18

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Bravest Warriors created by Pendleton Ward Series 7.19

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The Dangerous Duck Brothers created by 'Pat' Ventura Series 7.20

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Sparkles & Gloom created by Melissa Wolfe & Anne Walker Series 7.21

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The Infinite Goliath created by Mike Gray & Erik Knutson Series 7.22

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Kyle + Rosemary created by Jun Falkenstein Series 7.23

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Garlic Boy created by John R. Dilworth Series 7.24

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Flavio created by Mike Milo Series 7.25

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Samsquatch created by Adam Muto Series 7.26

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Girls on the Go! created by Aliki Theofilopoulos Series 7.27

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Victor created by Niki Yang Series 7.28

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The Bronk and Bongo Show created by Manny Galán & Alan Goodman Series 7.29

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Thom Cat created by Mike Gray Series 7.30

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Squirly Town created by Doug TenNapel Series 7.31

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Fanboy created by Eric Robles Series 7.32

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Hnadycat created by G. Brian Reynolds & Russ Harris Series 7.33

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Sugarfoot created by Erik Knutson Series 7.34

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Dugly Uckling's Treasure Quest created by Guy Vasilovich Series 7.35

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The Bronk and Bongo Show created by Manny Galán & Alan Goodman Series 7.36

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Super John Doe Junior created by Lincoln Peirce Series 7.37

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The Bronk and Bongo Show created by Alan Goodman & Fred Seibert Series 7.38

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Ratzafratz created by Jim Wyatt & Karl Toerge Series 7.39

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Series 8 Postcards Black & White 2009-2010

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Fanboy & Chum Chum created by Eric Robles Illustration by Eric Robles Series 8.1

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Adventure Time with Finn & Jake created by Pendleton Ward Illustration by Phil Rynda Series 8.2

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Series 8.3

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Illustration inspired by Lorenzo Petrantoni Series 8.4

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Frederator Films logo designed by Floyd Bishop Series 8.5

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Perry & Alan Goodman Photography by Elena Seibert Series 8.6

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Animated Cartoons By E.G. Lutz, 1920 Series 8.7

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Series 8.8

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Quotation from Winston Churchill Series 8.9

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Series 8.10

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Series 8.11

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Illustration by Stanley Rayon Series 8.12

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Series 8.13

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Series 8.14

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1951 Series 8.15

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Series 9 Postcards History of Frederator 2010

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Series 9.1

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Oh Yeah! Cartoons created by Fred Seibert Series 9.2

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The Fairly Oddparents created by Butch Hartman An Oh Yeah! cartoon series Series 9.3

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ChalkZone created by Bill Burnett & Larry Huber An Oh Yeah! cartoon series Series 9.4

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My Life as a Teenage Robot created by Rob Renzetti An Oh Yeah! cartoon series Series 9.5

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The Nicktoons Film Festival created by Fred Seibert Curated & programmed by Eric Homan & Rita Street Series 9.6

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Wow! Wow! Wubbzy created by Bob Boyle Series 9.7

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Random! Cartoons created by Fred Seibert Series 9.8

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The Meth Minute 39 created by Dan Meth Series 9.9

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Nite Fite created by Dan Meth A Meth Minute 39 cartoon series Series 9.10

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Ape Escape Cartoons produced by Kevin Kolde Series 9.11

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Fanboy & Chum Chum created by Eric Robles A Random! cartoon series Series 9.12

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Adventure Time created by Pendleton Ward A Random! cartoon series Series 9.13

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Postcard Series Wow! Wow! Wubbzy! 2007-2008

Wow! Wow! Wubbzy! A Bolder Media Inc. Production in association with Starz Media Bolder Media for Boys + Girls, a joint venture of Mixed Media Group + Frederator Studios

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Wow! Wow! Wubbzy! created by Bob Boyle Power Partners Series 2007

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Wow! Wow! Wubbzy! created by Bob Boyle Power Partners Series 2007

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Wow! Wow! Wubbzy! created by Bob Boyle Series 2 2008

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Wow! Wow! Wubbzy! created by Bob Boyle Series 2 2008

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Non-series Postcards 2000-2010

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Illustration by Ben Ross

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Drinking and Drawing created by Dan Meth Logo designed by Lee Rubenstein

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Drinking and Drawing created by Dan Meth Bikini Zombies illustrated & designed by Elliot Cowan 2009

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Channel Frederator created by Fred Seibert Submit! or Die! 2007-2008

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