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 por-
tions thereof in any form whatsoever.
ISBN-10: 1-45158-613-2 / ISBN-13: 9-781451-586138
First Frederator Books printing May 2010
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Preface
#Z#PC0TIFS
#FJOHBOBWJEDPMMFDUPSthe 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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*OUSPEVDUJPO
#Z'SFE4FJCFSU
I'm fond of saying that only artists can see the future,
since they're the ones who invent it every day (and it
doesn't matter if they're artists with paints, computers,
word processors, or business plans). It's surely true in
the case of the artists and creators who work with
Frederator Studios. They're the people who redefine the
cartoon past to originate their characters who will literally
establish what lies ahead in animation.
Our first book collection showcased the limited edition
postcards that honored the filmmakers and their big ideas
from our first two cartoon incubators, What A Cartoon!
and Oh Yeah! Cartoons. Our Hanna-Barbera years were
there in poster form with Dexter's Laboratory, Cow &
Chicken, Johnny Bravo, and The Powerpuff Girls (dang!
we never got one done for Courage the Cowardly Dog).
And the first postcards for The Fairly Oddparents,
ChalkZone, and My Life as a Teenage Robot. At the end
of Oh Yeah! production, five years and 99 cartoons later,
we took a break.
But everyone at Frederator was getting requests for more.
We were in series production at the time, so instead of pure
cartoon cards we sent out a set of 24 abstractions
(designed by Adams-Morioka in Beverly Hills, California).
A few years later, our latest cartoon lab, Random!
Cartoons was up and running, and 42 more creators got
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their moment on cardboard. And, making their postcard
book debut in this second volume are the massive hits
(so far!) from that group, Fanboy & Chum Chum and
Adventure Time.
From then on we couldn't help ourselves, and over the last
12 years the mail has carried out about one original card
every two weeks. Almost 300 cards. The future continues
to be well represented, and sometimes, the cards have been
about, well... nothing. No matter, we we were having a
good time and the friends who received them did too.
At least, that's what they lied to us.
Fred Seibert is the founder of Frederator Studios and
Channel Frederator.
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5IF&SJD)PNBO*OUFSWJFX
#Z.JDIBFM(PMENBO

*GIFXFSFBDBSUPPODIBSBDUFSin 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 Nickelodeon and
Cartoon Network cartoons that he 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
Cartoons. 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
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 history 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
to find the world’s finest, and funniest, creative talent and
then put them to work making commercially viable (well,
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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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.JDIBFM(PMENBO 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?

&SJD)PNBO 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.

.( And what is that exactly?

&) 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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.( And you have other Butch Hartmans coming out of
the Random! program right now?
&) I’ll give you two examples. The Nickelodeon show
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
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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 spe-
cial 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.

.( 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.

&) 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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.( So, what has changed then in the years between
Oh Yeah! and Random! in terms of finding new talent and
properties?

&) 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 MacFarlane’s first professional film was an early ver-
sion of Family Guy back at Hanna-Barbera for What a Car-
toon! The original What a Cartoon! program had cartoon-
ists 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 done
by Genndy and Craig and the shows that came out of that
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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.

.( 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
Channel Frederator and elsewhere across the web—how
has that impacted your traditional approach?

&) Actually, we've met hundreds of animators from
around the world through our network and blogs. But,
even more than helping find a hit, the Internet has 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.
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.( 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?

&) 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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.( 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?

&) In the commercial world? Be passionate about what
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 MacFarlane—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 anima-
tor, 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.
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Also, especially for television, focus on strong characters.
Audiences want to fall in love with characters. The cool-
est 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.
Series 6 Postcards
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George Seibert, 1950
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CG Fredbot by Magimation
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Frederator Bluebird
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Original Cartoon Inspirations Joe Barbera & Bill Hanna
Photography by Jeff Sedlik, 1995
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Frederator Liberty
Designed by Lee Rubenstein
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Frederator Valiant
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Frederator Double Neck SG
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A Frederator Studios Producion
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Dan Meth & Frederator Studios present
Drinking and Drawing
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California Primary Election Day, 2008
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Adventure Time T-shirt Time!! with Pen 'n' Fred
Adventure Time created by Pendleton Ward
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The Fairly OddParents created by Butch Hartman
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3rd Season Premiere!
My Life as a Teenage Robot created by Rob Renzetti
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Poster designed & printed by Hatch Show Print
Series 7 Postcards
Random! Cartoons
2008-2009
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Solomon Fix created by Doug TenNapel
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Moobeard the Cow Pirate created by Kyle A. Carrozza
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Two Witch Sisters created by Niki Yang
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The Finster Finster Show created by Jeff DeGrandis
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Mind the Kitty created by Anne Walker
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Ivan the Unbearable created by Andrew Dickman
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Boneheads created by Polygon Pictures
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Tiffany created by Adam Henry
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Call Me Bessie! created by Diane Kredensor & Dana Galin
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Teapot created by Greg Eagles
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Hornswiggle created by Jerry Beck
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Hero Heights created by Raul Aguirre Jr. and Bill Ho
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Yaki & Yumi created by Aliki Theofilopoulos
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Gary Guitar created by Bill Plympton
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Krunch and the Kid created by Adam Henry
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Bradwurst created by Jason Plapp & Angelo di Nallo
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Dr. Froyd's Funny Farm created by Bill Burnett & Jaime Diaz
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Bravest Warriors created by Pendleton Ward
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The Dangerous Duck Brothers created by 'Pat' Ventura
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Sparkles & Gloom created by Melissa Wolfe & Anne Walker
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The Infinite Goliath created by Mike Gray & Erik Knutson
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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
UU OrlPlnul Cur\OOnS VOlunC 2
Flavio created by Mike Milo
Series 7.25
lrCdCru\Or S\udlOS U1
Samsquatch created by Adam Muto
Series 7.26
UB OrlPlnul Cur\OOnS VOlunC 2
Girls on the Go! created by Aliki Theofilopoulos
Series 7.27
lrCdCru\Or S\udlOS UU
Victor created by Niki Yang
Series 7.28
1U OrlPlnul Cur\OOnS VOlunC 2
The Bronk and Bongo Show created by Manny Galán & Alan Goodman
Series 7.29
lrCdCru\Or S\udlOS 11
Thom Cat created by Mike Gray
Series 7.30
12 OrlPlnul Cur\OOnS VOlunC 2
Squirly Town created by Doug TenNapel
Series 7.31
lrCdCru\Or S\udlOS 1B
Fanboy created by Eric Robles
Series 7.32
14 OrlPlnul Cur\OOnS VOlunC 2
Hnadycat created by G. Brian Reynolds & Russ Harris
Series 7.33
lrCdCru\Or S\udlOS 1b
Sugarfoot created by Erik Knutson
Series 7.34
1U OrlPlnul Cur\OOnS VOlunC 2
Dugly Uckling's Treasure Quest created by Guy Vasilovich
Series 7.35
lrCdCru\Or S\udlOS 11
The Bronk and Bongo Show created by Manny Galán & Alan Goodman
Series 7.36
1B OrlPlnul Cur\OOnS VOlunC 2
Super John Doe Junior created by Lincoln Peirce
Series 7.37
lrCdCru\Or S\udlOS 1U
6 Monsters created by Alan Goodman & Fred Seibert
Series 7.38
BU OrlPlnul Cur\OOnS VOlunC 2
Ratzafratz created by Jim Wyatt & Karl Toerge
Series 7.39
Series 8 Postcards
Black & White
2009-2010
B2 OrlPlnul Cur\OOnS VOlunC 2
Fanboy & Chum Chum created by Eric Robles
Illustration by Eric Robles
Series 8.1
lrCdCru\Or S\udlOS BB
Adventure Time with Finn & Jake created by Pendleton Ward
Illustration by Phil Rynda
Series 8.2
B4 OrlPlnul Cur\OOnS VOlunC 2
Series 8.3
lrCdCru\Or S\udlOS Bb
Illustration inspired by Lorenzo Petrantoni
Series 8.4
BU OrlPlnul Cur\OOnS VOlunC 2
Frederator Films logo designed by Floyd Bishop
Series 8.5
lrCdCru\Or S\udlOS B1
Perry & Alan Goodman
Photography by Elena Seibert
Series 8.6
BB OrlPlnul Cur\OOnS VOlunC 2
Animated Cartoons
By E.G. Lutz, 1920
Series 8.7
lrCdCru\Or S\udlOS BU
Series 8.8
UU OrlPlnul Cur\OOnS VOlunC 2
Quotation from Winston Churchill
Series 8.9
lrCdCru\Or S\udlOS U1
Series 8.10
U2 OrlPlnul Cur\OOnS VOlunC 2
Series 8.11
lrCdCru\Or S\udlOS UB
Illustration by Stanley Rayon
Series 8.12
U4 OrlPlnul Cur\OOnS VOlunC 2
Series 8.13
lrCdCru\Or S\udlOS Ub
Series 8.14
UU OrlPlnul Cur\OOnS VOlunC 2
1951
Series 8.15
Series 9 Postcards
History of Frederator
2010
UB OrlPlnul Cur\OOnS VOlunC 2
Series 9.1
lrCdCru\Or S\udlOS UU
Oh Yeah! Cartoons created by Fred Seibert
Series 9.2
1UU OrlPlnul Cur\OOnS VOlunC 2
The Fairly OddParents created by Butch Hartman
An Oh Yeah! cartoon series
Series 9.3
lrCdCru\Or S\udlOS 1U1
ChalkZone created by Bill Burnett & Larry Huber
An Oh Yeah! cartoon series
Series 9.4
1U2 OrlPlnul Cur\OOnS VOlunC 2
My Life as a Teenage Robot created by Rob Renzetti
An Oh Yeah! cartoon series
Series 9.5
lrCdCru\Or S\udlOS 1UB
The Nicktoons Film Festival created by Fred Seibert
Curated & programmed by Eric Homan & Rita Street
Series 9.6
1U4 OrlPlnul Cur\OOnS VOlunC 2
Wow! Wow! Wubbzy created by Bob Boyle
Series 9.7
lrCdCru\Or S\udlOS 1Ub
Random! Cartoons created by Fred Seibert
Series 9.8
1UU OrlPlnul Cur\OOnS VOlunC 2
The Meth Minute 39 created by Dan Meth
Series 9.9
lrCdCru\Or S\udlOS 1U1
Nite Fite created by Dan Meth
A Meth Minute 39 cartoon series
Series 9.10
1UB OrlPlnul Cur\OOnS VOlunC 2
Ape Escape Cartoons produced by Kevin Kolde
Series 9.11
lrCdCru\Or S\udlOS 1UU
Fanboy & Chum Chum created by Eric Robles
A Random! cartoon series
Series 9.12
11U OrlPlnul Cur\OOnS VOlunC 2
Adventure Time created by Pendleton Ward
A Random! cartoon series
Series 9.13
Non-series Postcards
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
112 OrlPlnul Cur\OOnS VOlunC 2
Wow! Wow! Wubbzy! created by Bob Boyle
Power Partners Series 2007
lrCdCru\Or S\udlOS 11B
Wow! Wow! Wubbzy! created by Bob Boyle
Power Partners Series 2007
114 OrlPlnul Cur\OOnS VOlunC 2
Wow! Wow! Wubbzy! created by Bob Boyle
Series 2 2008
lrCdCru\Or S\udlOS 11b
Wow! Wow! Wubbzy! created by Bob Boyle
Series 2 2008
Non-series Postcards
2000-2010
lrCdCru\Or S\udlOS 11U
Frederator moving announcement
Illustrated by Eugene Mattos
1997
12U OrlPlnul Cur\OOnS VOlunC 2
Frederator New York announcement
Photography by David Ramage
2000
lrCdCru\Or S\udlOS 121
Frederator New York announcement
Photography by David Ramage
2000
122 OrlPlnul Cur\OOnS VOlunC 2
Channel Frederator RAW giveaway
Illustration by Ben Ross
20007
lrCdCru\Or S\udlOS 12B
Channel Frederator RAW giveaway
Illustration by Ben Ross
20007
124 OrlPlnul Cur\OOnS VOlunC 2
Drinking and Drawing created by Dan Meth
Logo designed by Lee Rubenstein
2008
lrCdCru\Or S\udlOS 12b
Drinking and Drawing created by Dan Meth
Logo designed by Lee Rubenstein
2008
12U OrlPlnul Cur\OOnS VOlunC 2
Drinking and Drawing created by Dan Meth
Bikini Zombies illustrated & designed by Elliot Cowan
2009
lrCdCru\Or S\udlOS 121
Channel Frederator created by Fred Seibert
2006
12B OrlPlnul Cur\OOnS VOlunC 2
Channel Frederator created by Fred Seibert
2006-2008
lrCdCru\Or S\udlOS 12U
Channel Frederator created by Fred Seibert
2007-2008