Fred Seibert Presents: The Complete Frederator Postcards 1997-2020

Fred Seibert presents
The Complete
Frederator
Postcards
1997-2020
The FredFilms Professional Library

The Complete Frederator
Postcards 1997-2020
©2020, Fred Seibert. All rights reserved
ChalkZone, The Fairly OddParents, Fanboy & Chum Chum,

My Life as a Teenage Robot, Oh Yeah! Cartoons, and
Random! Cartoons ©2020, Viacom Intl. Used by kind permission.
Adventure Time, Courage the Cowardly Dog, Cow & Chicken,

Dexter's Laboratory, Johnny Bravo, and The Powerpuff Girls, ©2020
Cartoon Network. A Warner Media Company. Used by kind permission.
107 Facts, Bee and PuppyCat, Bravest Warriors,

Castlevania, Cartoon Conspiracy, Chris P. Duck, GO!
Cartoons, (Not) Hero, Slug Riot, and Too Cool! Cartoons,
©2020, Frederator Networks, Inc. Used by kind permission.
Frederator Fredbot designed by Arlen Schumer.
Frederator's spine logos designed by AdamsMorioka, Los Angeles.
All rights reserved, including the right to reproduce

this book or portions thereof in any form whatsoever.
2 4 6 8 10 9 7 5 3 1
1st edition September 2020

To
Richard Koenigsberg
and
Marc Chamlin
whose never-failing
sympathy, encouragement, professionalism
and wonderful friendship
will never be forgotten.
Why postcards?
Why so many?
This introduction is probably for design nerds only. Maybe

a few cartoon and promotion freaks too.
I started Frederator in 1997 to search out to innovative,

highly commercial talent in the cartoon business. The
postcards helped us promote them with industry influencers
and, not for nothing, when I left the studio in 2020, we had
one of the most recognizable brands in animation.
The postcards pretty much started out as a compromise

when I couldn't convince anyone to spring for posters. But,
they've allowed my slightly obsessive qualities to continue
publishing them as limited editions for a highly selective
group of like minded geeks for more than 20 years. And as
the world became more video-ized, more digitized, more
fleeting, it seemed to me that actual physical ephemera
would have more intrinsic value to their recipients than an
emailed Instagram link. And, to the special creators that I
was honored to be able to produce.
.....
Through a series of random events, I'd joined the cartoon

industry for the first time as the president of the legendary,
but definitely frayed Hanna-Barbera cartoon studios, soon
after cable media mogul Ted Turner bought the company in
the early 1990s. When we inaugurated an ultimately tri-
umphant program to develop the next, great generation of
cartoon creators, I'd commissioned distinctive posters for
our first group of animators, hoping to give them the shine
and attention of the great shorts of the theatrical era.
After all, back in the day, cartoons were taken seriously.

OK, not so seriously, but feature cartoons were definitely
front and center in viewers' minds and a critical part of
the movie studios' business models. The entire family was
critical for box office so wherever you saw a poster for, say,
Humphrey Bogart in High Sierra, or maybe Ingrid Berg- "Meet the Beatles"
& "Rubber Soul"
man in Gaslight, you might also spot a similar sized one- photograph:
sheet for a Bugs Bunny or Tom & Jerry short. Robert Freeman;
"Sgt. Pepper's Lonely
Hearts Club Band"
designers:
By the time television came to prominence in the 1950s Peter Blake & Jann Haworth,
photograph: Michael Cooper
cartoons were pretty much only targeted to children, and "Abby Road"
who pays attention to kid stuff other than the other kids? photograph:
Iain Stewart Macmillan.
The brilliant people who actually made the cartoons toiled "Weasels Ripped My Flesh"
illustration: Neon Park
away without a fraction of the recognition given to the ge- "RAMONES"
nius of a Charlie Chaplin or an Alfred Hitchcock. photograph: Roberta Bayley
"King of Rock"
art direction: Andrea Klein
photograph: E.J. Camp
In my humble opinion, cartoon creators are the most un- "Nevermind"
derrated film comedy filmmakers in history. Their work creative director:
Robin Sloane
is consistently popular decade after decade, while the live concept: Kurt Cobain
design: Robert Fisher
action comedy films end up in museums. Unfair! photograph: Michael Lavine.
All Blue Note covers
design: Reid Miles
Anyhow... My background was in the promotion and pro- photography: Francis Wolff.
"The Howlin' Wolf Album"
duction of media. Hanna-Barbera was in desperate need design: Bill Sharpe
of both, with the studio's last hit being a decade past (The "I Got You"
design & photograph:
Smurfs from 1981). I figured giving due consideration to unknown
"Hot Buttered Soul"
the fabulous talent we were working with was a surefire photograph: Bob Smith
way to Hollywood's hype filled heart. art direction:
Honeya Thompson
design: Christopher Whorf
"Shame Shame Shame"
Besides, Hanna-Barbera –actually the entire animation Illustrator unknown.
industry– didn't exactly have a reputation for believing that "King of Rock"
Art Direction:
promoting their studio's production staff was worth all that The Grey Organisation
Artwork: Toby Mott
much. I hoped that one of the ways to attract great talent "3 Feet and Rising"
was to give them appreciation lacking at our competitors. Photographer:
Marie Hennechart
..... "4:44"
Creative Direction:
Willo Perron
Backtracking Art Dirction:
Brian Roettinger
I came of age during the first television age, long after that travis scott astroworld
david lachapelle
big bang era of cartoons. The graphic designs that capti- "Live in New York"
vated me were the rock'n'roll albums from the 60s which art direction: Fred Seibert
photographer: unknown
reverberated right until the 90s. "Friends"
Illustration: Sam Steinberg
"Livin' High Off
50 years on, I'm amazed at how much unconscious infor- Nickels and Dimes"
illustration: Susan Rivoir
mation I've retained from those LP covers. For two genera- "Honest"
art direction: Lisa Lenovitz
tions, they set the pace for innovation in graphic design and photograph: Michael Bifulco.
their visualizations were completely distinctive. Whether it
was the popular ones (like "Meet The Beatles" or Nirvana's
"Nevermind") or relative obscurities (Shirley & Company's
"Shame Shame Shame" or "The Howlin' Wolf Album")
album graphics did more than tell you who was on the
record; they defined how you felt about the life you were
living or the one you wanted to live.
I've always been a pop kind of guy, as in popular culture,

so I’ve generally been attracted to the kind of stuff that
most other folks like me would like (though that certainly
doesn't rule out all the weird and wonderful, out to lunch
things that make the world more interesting). Pop started
for me with cartoons on TV, for sure, but quickly evolved
into a pop music fascination, first with Chubby Check-
er and The Four Seasons, culminating in the February
1964 explosion of The Beatles. My model for all things
image-wise began with my love of the remarkable vinyl
wrapped in printed cardboard images that were setting the
pace all over industrial civilization. Pop, rock, jazz and soul
set our eyes on fire.
Everyone had a rock band in those days and I was no

exception. But over the years the gears behind the music
–the recording, the production, the photography, the design,
even the critical writing that was beginning to seep out– be- MTV: Music Television
logo 1981
gan to take more and more of my attention. Two buddies
by Manhattan Design
and I conjured up an independent label for blues and jazz (Pat Gorman,
that eventually lived up to its name –Oblivion Records– Frank Olinsky,
Patti Rogoff)
and while I was eager to learn how to learn to design the
jackets myself, the golden age of covers had already Animation production
passed by. 1981-1983:
Jerry Lieberman
Productions NYC,
Phumphering around for a few years producing records, Broadcast Arts
Washington DC,
working in country music radio, soon I stumbled into the Tom Pomposello
gig of a lifetime as the first creative director of MTV: Long Island,
Music Television. When my boss and I agreed that ani- Colossal Pictures SF,
David Burd NYC,
mation was going to help set the identify of the channel, Buzzco Productions NYC,
Silver Light LA.
and my oldest friend –Frank Olinsky– had just started the
studio –a few desks behind a tai chi studio in Greenwich
Village– that designed the iconic logo, I thought maybe
these network identifications could serve a role a little like
the album covers of the previous generations.
"Finally!" I thought. "I can be part of the next graphic rev-

olution." And I put my head down, determined to blaze a
new path in design.
My creative partner, Alan Goodman, and I set out to find

the most interesting animators in the world and engage
them in our pursuit. Lo and behold, we succeeded by com-
missioning the world's best –and virtually unknown– film-
makers we could wrangle.
What do you know, it worked! Before I knew it the presti-

gious AIGA –the American Institute of Graphic Arts– had
awarded me, though I’m not even close to being a graphic
designer, their Lifetime Achievement medal.
.....
Back to cartoons. When I joined Hanna-Barbera I spent the
first couple of years doing a deep dive study into the his-
tory of the medium, trying to figure out how this amazing
commercial art form had fallen from grace to be considered
junky kid stuff. Long story short, "kid stuff" was by its
nature junky, and honestly, it seemed the most the cartoon
business did to counter the impression was to have a small
annual dinner to give itself a few awards.
Well, here I was in a job –producing scripted television

animation– that I was wholly unsuited for, so I defaulted to
my strength. How should Hanna-Barbera make television
cartoons famous?
Since I always start by copying what's special, and adapt- Posters

ing it, those theatrical posters came to mind. I'd rebrand illustrated
& designed
what the industry hyped as "animation" and reclaim the
by Frank Kozik
then-declasse concept of "cartoons": short films and iconic
ORIGINAL CARTOON POSTCARDS 11
characters being hilarious. Strangely enough, it was an idea
that had been abandoned by the industry in the 60s. Well, it
was now the 90s and besides, everything retro is new again.
So Hanna-Barbera would go back to the future with dozens
of new short cartoons with original characters and find the
stars of the future. I loved what Austin artist Frank Kozik
had started what would become known as the "gig poster"
craze with his unique take on cartoon characters, a good
source to remix with the classic posters. Voilà!
Hanna-Barbera's What A Cartoon! creators were looking

good.
A few years later, when I started Frederator Studios with

Nickelodeon, as kind and open they were to my ideas, I
knew the powers that be –Herb Scannel and Albie Hecht–
weren't going to spring for the outrageous cost that printing
a few hundred each of 50 creators' posters. But, maybe I
could sneak in a few limited edition postcards.
The cards were well received, and it was a blast seeing

the looks on the creators' faces when I handed them out.
After three years the shorts werew all produced so it felt Creators:
Craig McCracken,
like there wasn't anything more to promote, but I decided David Feiss,
that to keep going until they didn't seem like fun anymore. Genndy Tartakovsky;
Pat Ventura,
Certainly no one figured they'd last more than 20 years. Van Partible,
Ralph Bakshi;
It was a great way to keep the Frederator Studios name top Eddie Fitzgerald,
Butch Hartman,
of mind with movers and shakers, and not for nothing, they Michael Rann
were indeed an entertaining side gig when I would (occa- & Eugene Mattos;
Bill Hanna.
sionally) need a hobby.
Posters 1995:
So, here we are. There were almost 50 series of cards, creative direction:
Bill Burnett;
give or take –over 23 years and nearly 700 designs, if you art direction
include a bunch that were never published– before I left & design:
Jesse Stagg
Frederator in 2020. But, I'll still be producing cartoons, so
& Kelly Wheeler
I'll probably start a new series soon.
–Fred Seibert, September 2020

Series 1, 2, 3 1998-2000
Oh Yeah! Cartoons
Short cartoons have been the lifeblood of

animation for almost 100 years, and the
talent that creates them have been vital
spark of my cartoons for over two decades.
I started producing an industrial amount of

cartoon shorts –animation's first serious for-
ay into the form in 40 years– while I was the
last president of the venerable Hanna-Bar-
bera Cartoons in the 1990s. The runaway
success of the six series that spun out from
What A Cartoon! provided the inertia to start
Frederator in 1998 and launch the company
with Oh Yeah! Cartoons on Nickelodeon.
Compact, animated films began in the silent

era, thrived when sound was added, and ex-
ploded when movies turned into television.
And in the internet age... well, it's hard to
grasp the tens of millions of shorts that are
out in the world today.
Unquestionably, the innovative work of

these creators has seen a tremendous influ-
ence on the industry we toil in, but the effect
in the pop culture at large has probably been
even greater. For 20 years, their films have
been seen, enjoyed, and absorbed by mil-
lions of people across the world. The next
generations of filmmakers –both animated
and live action– will be thanking these
creators in their own acknowledgements
as their careers take over the global society
that's coming our way.
Oh Yeah! turned out to be Frederator's

largest animation incubator and I wanted to
promote the special value of
each creator. Postcards turned out to be the
most efficient promotional tool –they were
mini-posters really– to get the word out to
the world.
"Apex Cartoons Props & Novelties"
and "The Man with No Nose"
Created by Larry Huber
Thank you Larry Huber.
Larry Huber, a 50 year veteran

of the Hollywood animation
industry, has been the unsung
hero of almost every Frederator
shorts anthology since 1993,
as executive producer, director,
artist, story man, talent spotter,
and patient teacher of newbies
(including me!).
When I first joined the business

as the ignorant, last president of
Hanna-Barbera, and expressed
my lack of knowledge, Larry
stepped up and volunteered to
help in every way.
But let's not forget that Larry is a

creator too. Not only of these two
shorts, but our successful series
(with Bill Burnett) ChalkZone.
Illustration by Arlen Schumer
Color by Patrick Raske
The very first "Fredbot" illustrated and designed
by a longtime collaborator, Arlen Schumer.

Painting by Mike Rogers
18 THE COMPLETE FREDERATOR POSTCARDS 1997-2020

Painting by Timn Biskup

"ChalkZone"
Created by Larry Huber and Bill Burnett

"Jelly's Day/Hobart"
Created by Bill Burnett & Greg Emison

"Tutu the Superina/The Feelers"
Created by Bill Burnett
"What is Funny?"
Created by Bill Burnett and Vincent Waller
Bill Burnett had worked for me in advertising and

at Hanna-Barbera. At my New York agency, Fred/
Alan, Bill created as wonderful live action cam-
paign for MTV Networks called "What is Funny?"
I suggested it would be a great cartoo for one of
his shorts. Starring Slap D. Pooch, Bill partnered
with artist/ animator Vincent Waller of Ren &
Stimpy and later, Spongebob Squarepants, and they
created, yes, a really funny cartoon.
"Hey Look!"
By Harvey Kurtzman Adapted for the screen by Vincent Waller
Harvey Kurtzman invented MAD Magazine and

Little Annie Fanny, but early on did a newspaper
comic strip called "Hey Look!" A silly slapstick, it
had all the makings of an animated cartoon, and what
better to adapt than one of the great comedy artists
of the 20th century? I'd met Vincent Waller –now
creative director of SpongeBob– through future
Frederator Kevin Kolde, and asked him to reshape the
work of a master. He did, helping him to establish
his own mastery.
"Sick 'N' Tired"
Created by Andre Nieves & Ric Del Carmen

"Pete Patrick Private Invesigator" / "Let's Talk Turkey"
Created by Vincent Waller

It's safe to say that Butch
Hartman was the MVP of
Oh Yeah! Cartoons, showing
himself to be –pardon me,
James Brown– "the hardest
working man in show busi-
ness."
If Butch had only created

The Fairly OddParents –neé
The Fairy GodParents– as
one of the longest lasting
franchises in modern car-
toons, he would have been
admired as a powerhouse
creator.
But, you need to add in his

co-creation of Steve Marm-
el's "The Dan Danger Show."
Then, he designed and
directed "Zoomates," created
by his Johnny Bravo writing
partner, Seth MacFarlane.
Between the time that Seth
signed onto Oh Yeah! and the
short production, his Family
Guy juggernaut had begun;
he barely had time to write,
cast and direct the actors
before Butch took over.
"And that's not all!"
A friend's 12 year son had

storyboarded and Butch
volunteered to help him pitch
us "Terry and Chris." John
Reynolds came over after
school everyday, and Butch
schooled him all the way
through the production.
John's now a industry veter-
an and got his start because
of Frederator's open mind,
but mostly because of Butch
Hartman's generous nature
and enthusiastic work.
"The Fairly OddParents"
Created by Butch Hartman

Steve Marmel had been
Butch's story editor on Van
Partible's Johnny Bravo
over at Hanna-Barbera.
My sense is they didn't
get along too well, Steve
wanting what he wanted
and Butch having a clear
creative sense of his own
kind of butted heads. So I
was surprised when they
came in together with Dan
Danger. It seems that I told
Steve we favored artist driv-
en projects, so he walked
across the studio to Butch's
office and enlisted him.
When I asked Butch about

it later he said "This time he
needs me, so he'll listen."
Steve and Butch made

some really funny shorts,
and went on to several years
together at The Fairly
OddParents.
"The Dan Danger Show!"
Created by
Steve Marmel
& Butch Hartman
"Zoomates!"
Created by Seth MacFarlane
"Terry and Chris"

Created by John Reynolds
"Kitty the Hapless Cat"/
"Baxter & Bananas"
Created by Zac Moncrief
"The Young Star 3" / "Cat and Milkman"
Created by Miles Thompson
Alex Kirwan would have won my
early 90s Hanna-Barbera storyboard
contest with "Teddy and Art" if only
he wasn't 16 years old (below the
lawyer's limit). Instead, we hired him
as an art apprentice right out of high
school (I'm not sure he's forgiven me
that for the missed "college experi-
ence" with folks his own age).
After creating three amazing shorts

as the first artist hired at Oh Yeah!,
Alex joined Rob Renzetti, another
H&B and OY! alum, to art direct and
produce My Life as a Teenage Robot
for Frederator and Nickelodeon, and
he's now one of Hollywood's most in
demand artists on almost any cartoon
show in production.

"Teddy and Art," "Thatta Boy," and "Magic Trixie"
Created by Alex Kirwan

"Max" / "Tales from the Goose Lady"
Created by Dave Wasson
"I had the good fortune of starting
out with Fred Seibert at Oh Yeah!
Cartoons when I got out of Cal
Arts. And back then you could walk
into his office and say, 'It’s called
"Squirrel Robot" and here’s what
it’s about..' and Fred could say, 'I
hate that.' or 'Go make it.' and with
those words you had a budget and a
schedule. Execs like that don’t exist
anymore."
– Carlos Ramos, Interview with Laura
@Animation Insider, April 25, 2016
Carlos Ramos is a relentless art mon-
ster –in a good way!– with a beautiful
personal style, who, when he was not
designing the original "ChalkZone"
short or his own films, would scribble
me his interpretation of our Fredbot
robot (below), a sketch of Mick Jagger,
or his various logo designs for Oh Yeah!
None of which were ever assigned.
"A Dog and His Boy"

Created by Carlos Ramos
Frederator Manga Fredbot

Illustrated by Carlos Ramos
"Twins Crimson and Those Amazing Robots"
Created by Carlos Ramos

"Microcops," "Enchanted Adventures," and "Protecto 5000"
Created by John Eng

"Super Santa" was a great
cartoon that almost went all
the way.
Mike Bell is an artist,

animator, writer, puppeteer
who wrote with Dave Was-
son on the "Tales from the
Goose Lady" shorts (page
36) and wanted to pitch his
own. Initially, they were
so far out and weird (that's
not a bad thing, just not
right for Nickelodeon) that
I asked him to just come up
with 10 titles and loglines;
I knew he could write well
and funny.
"Super Santa: the adven-

tures of Santa Claus on the
364 days that aren't Christ-
mas. He's super strong,
super fast, and super smart
(he knows if every kid in
the world has been naughty
or nice). He's a superhero."
We loved it, Nickelodeon

loved it, we made six shorts
altogether, then they passed.
Nickelodeon Movies picked
"Super Santa" it up and then they passed
Created by Mike Bell too. Oh crap!

"The Forgotten Toy Box: The Curse of the Werebaby"
Created by Mike Bell

Like a lot the Oh Yeah!
artists, background painter
Tim Biskup came to us
after starting his career
at Hanna-Barbera and
Disney's Nightmare Ned.
He was one of the most
requested artists on many
of our shorts, but it didn't
stop his relentless creative
spirit from coming up with
his own short cartoon.
After a couple of more

series stints, Tim couldn't
deny his entrepreneurial
spirit and became one of
the global totems of Los
Angeles' branch of the
"lowbrow" art movement.
"Freddy Seymore's Amazing Life"

Created by Tim Biskup

"A Kid's Life"
Created by Ken Kessel

"Elise, Mere Mortal," "The Boy Who Cried Alien," "Lollygaggin," "Earth to Obie"
Created by Guy Vasilovich

"The Boy from S.C.H.O.O.L."
Created by Bill Riling & Bob Boyle

"Olly & Frank"
Created by Bob Boyle
Bob Boyle was on Oh Yeah! having been a character

designer elsewhere. He did art revisions and story-
boards for some of our shorts. He must have pitched
us "Olly & Frank" a dozen times, and the experience
got his project with Bill Riling green lit with only
one. Neither got to series, but Bob became a produc-
er of The Fairly OddParents series and then created
Wow! Wow! Wubbzy! for Bolder Media, a Frederator
joint venture.
"The Tantrum"
Created by John Fountain
"Zoey's Zoo"
Created by Amy Anderson and David Burd
"Herb"
Created by Antoine Guilbaud

"Kameleon Kid"
Created by Jaime Diaz and Russell Mooney

Michele Bryan started her
animation career on Gumby
Adventures, and then as a
production assistant on Oh
Yeah! Cartoons. Soon she
partnered with her designer/
director husband Eric on
their wonderful short
"Skippy Spankerton."
They've both gone on to
become illustrious go-to
comedy cartoon directors,
Michele becoming a lead-
ing role model for women
in the animation industry.
"Skippy Spankerton"
Created by Eric and Michelle Bryan

Rob Renzetti was
determined to get into the
cartoon business at a time
when it was being left for
dead after the 1980s nadir.
He and hometown buddy
Genndy Tartakovsky start-
ed together at Chicago's
Columbia College, got into
CalArts, and traveled to a
service studio in Spain so
they could actually direct
animation on the exhalted
Batman: The Animated
Series.
Rob directed on 2 Stupid

Dogs when I ran Han-
na-Barbera, and went on
to become a key creative
partner on Dexer's Labora-
tory (page 305) and Craig
McCraken's The Powerpuff
Girls (page 307).
His wonderful Mina & The

Count was at first an H&B
short before coming to Oh
Yeah! and I committed us
to five more shorts, sight
unseen. They were all
amazing, and a few years
later My Neighbor Was A
Teenage Robot morphed
"Mina and the Count" into one of the iconic
Created by Rob Renzetti
Nickelodeon series of the
early 2000s.

"My Neighbor was a Teenage Robot"

"The F-Tales"/"A Cop and his Donut"/"Hubbykins Versus SweetiePie"

"Ask Edward"

"Jamal the Funny Frog"/"That's My Pop"/"The Semprini Triplets"
Created by Pat Ventura

Pat Ventura is a classic
cartoon freak who was
working at Hanna-Barbera
with founder Joe Barbera
on Tom & Jerry Kids when
John Kricfalusi (Ren &
Stimpy) suggested he'd be
a great candidate for the
nascent What A Cartoon!,
my first shorts incubator.
Pat was the one who in-
sisted that I not cheap out
and make 3 minute shorts
–"All the greats were 7
minutes!"– and I was
pleased to make several
of his distinctively created
cartoons.
At Oh Yeah! Cartoons he
continued his run with
"Jamal The Funny Frog,"
which almost made the se-
ries cut. In addition to his
unique design style I was
excited by his insistence on
casting widely for his voice
actors, particularly with the
underrepresented sounds of
Black Americans.

"Oh Yeah! Cartoons"
Created by Fred Seibert

Designed by Carlos Ramos

Unpublished: Appropriately banned by Nickelodeon

Unpublished: Appropriately banned by Nickelodeon

Designed by Carlos Ramos

Series 4 2003
Designed
by AdamsMorioka
During its first three years, Frederator

almost came to an end.
In 1999, I moved to New York to become

the president of MTV Networks' online
businesses, but while I was loving being in
the internet I was no longer a good corporate
employee. And, I missed cartoons.
Frederator/NY was set up in 2001 as a

hybrid media/online consulting shop with
computer engineer Emil Rensing while
Frederator Studios' Oh Yeah! Cartoons
was finishing production and The Fairly
OddParents and ChalkZone went into series
production.
With all this activity, I was didn't really

have any time to come up with some of the
weekly postcards.
Sean Adams and Noreen Morioka were

two, young LA based graphic designers I ad-
mired, and I thought to ask them to "guest"
a series of cards while we waited for the
right window to promote the upcoming new
series. I figured if they were having a good
time with their designs, so would the friends
and professionals on our mailing lists.
Showered with imagery from my collection
of emphemera, computer code that they (or
me, for that matter) didn't quite understand,
and the proviso that there was no direction
from me other than they should make work
that no other client would let them do.
Sean and Noreen responded with a beauti-

ful new set of cards, our fourth. With them
Frederator established the eclectic creative
tradition I'd try and live up to for every
series going forward.
Lee Morgan (left) and Frank Mitchell November 10, 1967.
A beautiful, rare color shot by

photographer Francis Wolff,
co-founder of Blue Note Records,
courtesy of my friends Michael
Cuscuna and Charlie Lourie at
Mosaic Records.
We were in the internet business now, so I asked Emil for some computer code to use in a card.

Series 5 2004-2005
Over a year went by before it was postcard

time again.
Frederator was in the midst of a lot of

different kinds of projects. Several cartoons
series were in production at two major
cities a continent apart, and were we on the
cusp of joining together our animation with
the dawn of Internet 2.0. Following Series
4, a wide ranging set of card designs made
sense. The scanner was fired up, Photoshop
was loaded, and a lot of art was scooped
up from drawing tables, family photos, and
pop culture ephemera.
Job #1? Letting everyone know that we

were still committed to fresh talent with
original voices that could turn the popular
culture world on its ears. Animation was
still in the hangover of being a business that
was often too happy to take the easy way
out and make an animated version of some
hit movie. We needed to shout loudly and
clearly that Frederator was an independent
with a
open minded vision.
A side note. By 2004, since most of our

activity was in production, we started
referring to "Frederator Studios," but it
took until 2005 that the red 'Fredbot' robot
designed by Arlen Schumer became a 'must
have' alongside our name.

"Original Cartoons since
1998" started in 1998 as
a very small joke that had
real meaning.
Back in 1998, when I start-

ed producing short, funny,
commercially successful
cartoons, I made a con-
scious decision not to adapt
“pre-sold” commodities. I
wasn’t interested in trying
to cram an already success-
ful movie, or comic book or
action figure, into a series.
The result of that approach
are often... let's say "not so
good."
I wanted characters and

stories that were born to
inhabit the cartoon form,
the way Bugs Bunny, Daffy
Duck, Mickey Mouse, Fred
Flintstone, Scooby Doo and
countless others lived on
the screen.
I looked for people who

were born to make car-
toons. Artists whose brains
were teeming with orig-
inal ideas. Notice I say
"looked." I’m not a network
executive sitting in an
office waiting for people
to come crawling to me. I
have to get out, find talent

that needs whatever help I
can provide. So, I searched.
And I found. At art schools,
comedy clubs, animation
festivals, books, websites.
The people we've discov-
ered have gone on to revi-
talize the animation indus-
try. Their shows are seen
by millions of kids every
week, on Nickelodeon,
Cartoon Network, stream-
ers, the internet and in
movie theatres.
That’s right. I've been able

to run studios that brought
you the gals and guys who
imagined Adventure Time,
Bee and PuppyCat, The
Fairly Oddparents, The
Powerpuff Girls, Chalk-
Zone, Dexter’s Laborato-
ry, Johnny Bravo, Family
Guy, My Life as a Teenage
Robot, Cow and Chicken,
and Oh Yeah Cartoons,
Random! Cartoons, The
Meth Minute 39, Too Cool!
Cartoons, and GO! Car-
toons.
When we did this postcard

series we were still scout-
ing, and decades later I'm
still hungry to find original
talents with original cartoon
ideas. Since 1998.
Miles Thompson worked
with me at Hanna-
Barbera on 2 Stupid Dogs
and his own cartoon short
before coming over to
Frederator for Oh Yeah!
Cartoons. As he was falling
in love with jazz and blues
–musical forms that actu-
ally started my producing
career in the 1970s– I was
reminded again about the
American cultural connec-
tion between Black Amer-
ican music and cartoons. I
bought a couple of Miles'
homage paintings and
adapted them for a couple
of postcards.
Louis Armstrong by Miles Thompson

Elmore James by Miles Thompson

Photograph by
Donald Gessling,
Huntington, New York 1958
(top) &
Fabian Bachrach,
New York City 1958
(bottom)
My parents, Lilliana and

George, were my first
mentors and teachers,
and my grandfather,
Pancho Nakaskeff, was
the family entrepreneur
whose DNA I seem to
have inherited. Their
photographic portraits
completely embody
their 1940s and 1950s
moments, so I thought to
make beautiful cards
to honor them.
One of the great things
about being in the cartoon
business –well, it’s almost
always great– is that art-
ists are constantly drawing
your picture at the drop of
a hat. My birthdays, or the
day my family moved from
Los Angeles to New York,
or just a simple thank you
card, they were all great
excuses to use their skills
and talents to flatter me.
Illustration by Carlos Ramos 1999

Illustration by Craig Kellman 1994

Style guide illustrations by Bob Boyle




"Oh Yeah! Cartoons" Created by Fred Seibert
Logo designed by Carlos Ramos

Originally, our 2004/5 cartoon shorts effort
was going to be the 4th season of Oh Yeah!
Cartoons. Legal eagles needed a new name so
we chose Too Cool! Cartoons. Nickelodeon
management disagreed –we eventually settled
on Random! Cartoons– so we eventually used
the Too Cool! moniker in 2013.
Back in my radio days
I learned about NASA's
public domain image and
video library. Famously, I
leaned upon it heavily at
MTV, and thought it was a
quick, inexpensive source
for Frederator postcards.
And space imagery is
always kind of exciting. Of
course, we always want to
be dramatic. ORIGINAL CARTOON POSTCARDS 117
"ChalkZone" Created by Bill Burnett & Larry Huber
Script by Larry Huber
Picking up odds and ends from production

meetings has always fascinated me, peer-
ing into the sketches, notes and minds of
our creative colleagues. Every once in a
while I thought of sharing a few of them.
Painting by Frank Rocco
Artist Frank Rocco worked on several

Frederator series, and he was perfect
to illustrate this chalk-like painting for
ChalkZone.
"ChalkZone"
Created by Bill Burnett & Larry Huber

"ChalkZone"
Created by Bill Burnett & Larry Huber

Background painting from "Super Secret Secret Squirrel" in "2 Stupid Dogs"
As I drove past the Hanna-Barbera building for more than 25 years I

was always in awe, wondering whether Huckleberry Hound or Yogi Bear
were padding through the halls. What really went on in that magical
studio? And weirdly enough, the first time I set foot in the place I had
become what turned out to be the company's last president, before Ted
Turner sold us to Time Warner.
Everyone in the place felt privileged to work in that building. One

proof? Producer Donovan Cook made sure that his "Super Secret
Secret Squirrel" had a fabulous Googie headquarters. A perfect image
to remix into a Frederator postcard.
Illustration by Sam Steinberg
Sam Steinberg was an "outsider" artist who resided, against
stereotype, in the ultra urban setting of The Bronx in New
York City. He peddled his wares –usually three paintings
and some "Hoishey Bars!"– at Columbia University each
and every day, rain or shine, for more than a decade span-
ning the 60s to the 80s. I commissioned this one –Sam
loved cats– for the cover of a fusion jazz album I produced,
much to the chagrin of the critical establishment who
denigrated the "cartoon." Since I had morphed into an
actual cartoon producer, I thought, why not use it for a
cartoon studio postcard?

"My Life as a
Teenage Robot"
Created by
Rob Renzetti
Rob Renzetti's 1999 Design and

short,
Rob renamed
Renzetti's forshort,
1999 as illustration by
MyMy
as Life as as
Life a Teenage
a Teenage
Jill Friemark
Robot (MLaaTR,
Robot (MLaaTR, for for
short)
short) dropped
dropped asas aa full
series in 2003.
series in 2003.
All the
All the art
art was
was carefully
carefully
supervised
supervisedby byRob
Robandand
creative director Alex
creative director Alex
Kirwan,
Kirwan,bothbothOh OhYeah!
Yeah!
Cartoons alumni.
Cartoons alumni. Unusual
Unusual
for a cartoonfor series,
a cartooneven
series, even the
the graphics and title graph-
cards
icsgot
andspecial
title cards got
treatment.
special treatment.
"My Life as a Teenage Robot"

"My Life as a Teenage Robot"

The older I get the stronger I feel about the
uniqueness of the United States and our individual
roles in keeping it vital. The Frederator limited
edition postcards won't change the outcome of any
elections, but I thought it might be a very minor
public service to occasionally remind folks of their
civic responsibilities.
Series 6 2007-2008
There was a ton going on in FredWorld
with almost breakneck speed since our last
postcard series. In retrospect, it turned out
to be a pivotal era.
Nurturing world class talent has always

been central to my DNA; after all, I start-
ed pop life as a fan and professionally I'd
found a way to turn my fandom for stun-
ners into a super power. We started taking
new shorts pitches in 2004 for what turned
out to be Random! Cartoons (that'll be
Series 7) and animator Dan Meth started
his tour of duty at Frederator/NY which led
to his groundbreaking personal shorts show
The Meth Minute 39.
And that's not all!
2005 also began our first foray into online

video with the launch of "The World's First
Cartoon Video Podcast," Channel Frederator:
Cartoon Central on the Internet– on iTunes
and YouTube. Channel Frederator has led to
creative relationships with literally thou-
sands of animators across the globe and
caused me to set in motion other innova-
tions in the internet, like my other company
Next New Networks.
My creative colleague, Eric Homan, and I

began developing picture books for kids,
which led to our first preschool series, Bob
Boyle's Wow! Wow! Wubbzy which led to
yet another podcast, The Wubbcast.
Kevin Kolde joined up to produce and
we've been popping shows out ever since.
Soon, Melissa Wolfe joined the team and
Carrie Miller came aboard.
There was a lot of fun stuff to promote, a

ton more material for postcards, and I threw
in a bunch of arbitraries too, just to keep
folks on their toes.
Series 6.2
Designed by Lee Rubenstein

Series 6.1

Series 6.5
Series 6.6
Series 6.3
"Random! Cartoons" Created by Fred Seibert
Logo design by Michael Lapinski Inspired by Darron Moore
Series 6.4
Series 6.10
George Seibert
Photograher:
unknown
Series 6.9
Illustration
by
Eugene
Mattos
Series 6.7 "Castlevania"
Executive Producers: Kevin Kolde & Fred Seibert Screenplay by Warren Ellis Illustration by James Jean
Series 6.8
Series 6.12

Series 6.11

Series 6.15
Series 6.16
Painting by Earl Moran
Series 6.13
Series 6.14
Series 6.19
Photograph of Joe Barbera & Bill Hanna by Jeff Sedlik
Series 6.20
United States Election Day 2007
Series 6.17
"Ape Esvape Cartoons" Executive Producers: Kevin Kolde & Fred Seibert
Series 6.18
Series 6.23
Series 6.13
Series 6.21 "Random! Cartoons" Created by Fred Seibert
Series 6.21
Series 6.26

Series 6.25

Series 6.29 / Series 6.30
"The Meth Minute 39" Created by Dan Meth


Series 6.32
Dan Meth + Frederator present Drinking and Drawing

Series 6.31
Illustration by Marv Newland from his film "Postalolio"

Series 6.35
"Adventure Time"
Created by
Pendleton Ward
Series 6.36
"The Fairly
OddParents"
Created by
Butch Hartman
Series 6.33
Series 6.34
United States Democratic Primary Election Day
Series 6.39
United States Election Day 2008

Series 6.37
"My Life as a Teenage Robot" Created by Rob Renzetti

Series 7 2008-2009
Random! Cartoons
Created by Fred Seibert
Produced for Nickelodeon from 2004 A few dozen women pitched us, and
through 2006, Random! Cartoons didn't eight made films for us. Jun Falken-
drop for two years. But, our fourth big stein, Dana Galin, Diane Kredensor,
idea anthology had a number of advances, Aliki Theofilopoulos, Anne Walker,
not only for its 44 creators, not only for Melissa Wolfe (yes, an executive and
Frederator, but for the future of cartoons. a creator), and Niki Yang announced
themselves as creative leaders in
Certainly, the incubator was notable for in- animation.
troducing the world to Eric Robles' Fanboy
(soon to be rechristened as the Fanboy & There would be more to come, and
Chum Chum series.) and the first two soon it was taken for granted that
professional efforts of recent CalArts the Random! women in animation
graduate Pendleton Ward, Adventure Time were the advance guard of change in
and Bravest Warriors. Fanboy broke out filmmaking.
"squash & stretch" computer generated
(CGI) animation for TV, and Adventure
Time would open up new creative paths for
everyone to follow.
The real breakthrough, in my opinion, was

the women.
From my first day in the animation business

in 1992, I'd noticed the paucity of women
at the creator level of cartoons. The people
who conceived the characters, wrote the
scripts or storyboard, and brought the vi-
sion to life were almost entirely white men.
That had to change if we were to expand
the audiences who we wanted to love our
cartoons. I'd scoured the business asking
women to pitch us, but for more than 10
years only a handful had shown up, and
just three had a primary hand in any of our
shorts.
And then Random! happened. Studio

executives Eric Homan, Kevin Kolde, and
Melissa Wolfe (soon to become a creator
herself) helped us make history.
"Solomon Fix" / "Squirly Town" Created by Doug TenNapel

Series 7.22
"The
Infinite Goliath"
Created by
Mike Gray and
Erik Knutson
Series 7.30
"Thom Cat"
Created by
Mike Gray
Series 7.34
"Sugarfoot"
Created by
Erik Knutson
Series 7.2
"MooBeard The Cow Pirate" Created by Kyle A. Carrozza
Series 7.33
"HandyCat" Created by G. Brian Reynolds & Russ Harris
Series 7.6
"Mind the Kitty" Created by Anne Walker
Series 7.21
"Sparkles & Gloom" Created by Melissa Wolfe and Anne Walker
"Yaki & Yumi"/"Girl on the Go!" Created by Aliki Theofilopoulos
Series 7.10
"Call Me Bessie"
Created by
Diane Kredensor
and Dana Galin
Series 7.23
"Kyle +
Rosemary"
Created
by Jun
Falkenstein
"Two Witch Sisters"/"Victor" Created by Niki Yang
Series 7.8
"Boneheads" Created by Polygon Pictures
Series 7.7
"Ivan the Unbearable" Created by Andrew Dickman
"Tiffany" / "Krunch and the Kid" Created by Adam Henry
"Aventure Time"/"Bravest Warriors" Created by Pendleton Ward
Series 7.13
"Hero Heights" Created by Raul Aguirre Jr. and Bill Ho
Series 7.11
"Teapot" Created by Greg Eagles + Dahveed Kolodny-Nagy
Series 7.12
"Hornswiggle" Created by Jerry Beck
Series 7.17
"Bradwurst" Created by Jason Plapp & Angelo diNallo
Series 7.18
"Dr. Froyd's Funny Farm" Created by Bill Burnett and Jaime Diaz
Series 7.4
"The Finster Finster Show!" Created by Jeff DeGrandis
Series 7.20
"The Dangerous Duck Brothers" Created by 'Pat' Ventura
Series 7.27
"SamSquatch" Created by Adam Muto
Series 7.25
"Garlic Boy" Created by John R. Dilworth
Series 7.26
"Flavio" Created by Mike Milo
Series 7.29
"The Bronk and Bongo Show" Created by Manny Galan & Alan Goodman
Artist Manny Galan's first

take on the "Bronk and
Bongo" postcard was an
homage to an influential "The
Ren & Stimpy Show." When
we previewed it on the Fred-
erator Studios blog the ugly
John K trolls came out in force
crying "rip off." We were
ready to publish, but Manny
and Alan decided to go on the
path of least resistance and try
an alternative approach.
"The Bronk and Bongo Show" Unpublished postcard

Series 7.15
"Gary Guitar" Created by Bill Plympton
Series 7.35
"Dugly Uckling's Treasure Quest" Created by Guy Vasilovich
Series 7.36
"Dr. Dee & Bitboy" Created by Seo jun-kyo and Kang yo-kong, co-created by Larry Huber
Series 7.32
"Fanboy" Created by Eric Robles
Series 7.38
"6 Monsters" Created by Alan Goodman and Fred Seibert
Series 7.39
"Ratz A Fratz" Created by Jim Wyatt & Karl Toerge
Series 7.37
"Super John Doe Junior" Created by Lincoln Peirce
Series 8 2009-2010
Black & White
Spending a lot of time around beautifully

conceived, pencil drawn animation story-
boards and vintage magazine panel car-
toons had me appreciating, more than ever,
the utter clarity of a black line –or maybe a
few words– from a talented hand. All that
art would lead to our second postcard series
theme that wasn't built around cartoon
creators.
The art came from sources as close to home

as the desks in our art departments, and
distant as drawings from across the globe,
and early 20th century animation books.
And, a few monochrome photographs from
here and there.
In the blindingly Technicolor® world in

which we all live, sometimes simplicity
is a real joy.

Series 8.3
Series 8.5
Frederator Films logo by Floyd Bishop
Series 8.1
"Fanboy and Chum Chum" Created by Eric Robles
Series 8.2
"Adventure Time" Created by Pendleton Ward
Series 8.6
Photograph of Perry & Alan Goodman by Elena Seibert
Series 8.7
Illustration from "Animated Cartoons" by E.G. Lutz 1920
Series 8.4
llustration inspired by Lorenzo Petrantoni for Newsweek December 2008-January 2009
Series 8.11
Series 8.8
Series 8.9
Series 8.10
Illustration by Stanley Rayon
Series 8.10
Illustrator unknown
Series 8.13
Illustrator unknown
Series 8.15
Photographer unknown
Series 8.14
Series 8 [Unpublished]
Photo Booth: "Waylon Jennings & Buddy Holly"
Series 8 [Unpublished]
Illustrator unknown
Series 9 2010
History of Frederator
There were constantly new additions to

the Frederator mailing list. People across
the world were discovering the company
for the first time from our latest series,
production blogs and online channels.
This set made sure everyone was

brought up to speed with the studio's
already extensive filmography.

Series 9.2
"Oh Yeah! Cartoons" Created by Fred Seibert Designed by Carlos Ramos
Series 9.3
"The Fairly OddParents" Created by Butch Hartman
Series 9.1
Photograph at Columbia University by Lilliana Seibert 1953

Series 9.6
"Nicktoons Film Festival" Created by Fred Seibert Illustration by Michael Uman & Luis Blanco
Series 9.4
"Wow! Wow! Wubbzy!" Created by Bob Boyle
Series 9.4
"ChalkZone" Created by Bill Burnett & Larry Huber Illustration & design by Guy Vasilovich
Series 9.5
"My Life as a Teenage Robot" Created by Rob Renzetti Illustration & design by Joseph Holt
Series 9.10
"Nite Fite" Created by Dan Meth
Series 9.11
"Ape Escape Cartoons" Developed by Kevin Kolde & Eric Homan
Series 9.8
"Random! Cartoons" Created by Fred Seibert Design by Hatch Show Print
Series 9.9
Series 9.13

Series 9.12
"Fanboy & Chum Chum" Created by Eric Robles

Series 10 2010
Record Labels
Since I came of cultural age during the era

of pop music ascendance I had a love for
all of the graphic elements of the times
–cars, magazines, film titles, photography–
but record sleeves and labels had a special
place in my eyes.
There were hints in past series, but I'd

collected enough over the years that I just
had to share. Yes, I'm aware that by the
time the series published, physical devic-
es to listen to music were archaeological
relics.
Naturally, that made them all the more

interesting to me. Hopefully, to you too.

Series 10.2
Series 10.3
Series 10.1

Series 10
unpublished
Series 10.4
Series 10.2
Series 11 2010
Laughing and Smiling
"Laughter is the best medicine: the ultimate

origins of the phrase may well just be lost
in the mists of time: this phrase has become
such an integral property of human culture
across the world that it can be said to be
the property of everyone without being
‘owned’ by any single person."
– www.importantindia.com
Wags in the cartoon business sometimes

say "funny is money."
While that isn't accurate in our contempo-

rary world –witness Frederator's Castleva-
nia series and the anime explosion across
the world– what drives my colleagues and
me is that making people all over the Earth
smile is one of the best ways to live a life
that can be imagined.
Series 11.2/3 Series 11.5/6
Series 11 unpublished Series 11 unpublished

Series 11.1

Series 12 2011
Cartoon Title Cards
The unconsidered art of the cartoon title It took a few years to get anyone to
card. agree that we could even make these
kinds of cartoons (thank you kindly,
For almost a century, the art of the cartoon Scott Sassa and Ted Turner). And,
title card has not been disparaged, disre- among the creative posse making the
garded, or dismissed. It has been completely first 48 shorts there wasn’t one push
ignored. And by the 1970s it had almost back about the idea of the title cards,
completely disappeared. So, it was no easy they loved everything cartoon. It
task to find someone who could write the helped that I was the president of the
introduction to this book of Frederator Stu- studio, but that really had nothing to do
dios’ titles. Maybe on the internet there was with it.
someone with a writer’s eye who had a few
choice words to say about decades of cool The networks were another story. It’s
illustration and graphic design? fair to say that we’ve had resistance
to title cards for almost every one one
Nothing. of the almost 20 series that have been
sprung from our three shorts series of
There are several places that display the last 15 years. It's never the budget
beautiful vintage cartoon cards, usually for issues, which would have been my first
filmographic or historical purposes. But, arguments against them, if I’d been so
for all the pages devoted to critical analysis inclined; it is not inexpensive to make
and display of another pop culture icon, the between 50 and 150 of illustrative,
movie poster, there wasn’t a full paragraph finished artwork per season. No, unfor-
of consideration that turned up about the tunately, there's probably a failure of
kind of art we’ve got in this book. imagination. “Other series don’t do it.”
Within minutes of ruminating about car- Cartoon title cards indeed seem to be an
toons for the first time–professionally, that unconsidered art, at least everywhere
is; they probably started dominating my else. Everywhere but Frederator. This
mind as soon as my parents got their first art is no longer ignored, so please feast
TV–there was no choice. The model for my your eyes for as long as you might
productions needed to be the great shorts wish. I guarantee some gorgeous re-
during the golden age of the early, mid-20th wards.
century: Looney Tunes, the Disney’s, the
MGM’s, even the first TV shows of Han- Excerpted from the book
na-Barbera. And there was no joking about "Original Cartoon Title Cards:
the template. Our films would hew as close Produced by Fred Seibert"
as possible to these classics from front to Edited by Eric Homan
back. Beautiful titles with the studio logo, & Fred Seibert 2010
character name, episode name, seven min-
utes of squash & stretch hilarity, and “The
End.” No deviations, please.
Series 12.2
Series 12.3
"ChalkZone" Created by Bill Burnett & Larry Huber Illustration & design by Guy Vasilovich
Series 12.1
Illustrated & designed by Carlos Ramos

Series 11.6
From Random! Cartoons: "Solomon Fix" Created by Doug TenNapel
Series 11.7
Series 11.4
"My Life as a Teenage Robot" Created by Rob Renzetti Illustration & design by Joseph Holt
Series 11.5
Series 11.8
Design: Phil Rynda Painting: Paul Linsley Art direction: Nick Jennings

Series 11.9
"Samsquatch" Created by Adam Muto

Series 13 2011
Magazine Illustration
Over the years my explorations and

adapted mutilations of 20th century
magazine illustrations popped up here
and there. 2011 became the time for a
deep dive.

Series
13.4/5/6
Mash-ups
illustration by
Edward Runci/
Liberty
Magazine
August 12, 1939/
illustration by
Ted Withers
Series
13.1/2/3
Mash-ups with
Liberty
Magazine
October1940/
Ace Magazine/
Famous
Fantastic
Mysteries
August 1948
Series 13
[unpub-
lished]
Mash-ups
from
(clockwise
from top left)
V [France]
September
18, 1949,
Teen
January
1967,
Flirt
April 1955,
Snappy
Magazine
November
1937,
VEA [Mexico]
1951,
Eyeful
August 1951
Series 13
[unpublished]
Mash-ups
from
(clockwise
from top left)
True Detective,
Whisper
May 1950,
Detective
World,
True Detective
August 1951,
High Heel
Magazine
June 1939,
Eyeful
July 1949
Series 14 2011
Buildings
Working out of the great Hanna-Barbera

Studios at the beginning of my animation
career started making me imagine what a
physical manifestation of Frederator could
look like. I was inclined towards a classic
American diner or maybe an ice cream
stand or an old juke joint. Or anything with
a neon sign.

Series 14.3
Mash-up with Bailey’s Dairy Treat, 510 Park Avenue, Hot Springs, Arkansas
Series 14.4
Mash-up with an historic McDonald's photograph
Series 14.1
Mash-up of a brochure for the Jonas Bros building, Louisville, Colorado
Series 14.2
Mash-up of a Dairy Queen, Paxton, Illinois
Series 14 [unpublished]
Mash-up of the Central Theatre, Hot Springs, Arkansas
Series 14.5
Mash-up with a 1944 juke joint in Melrose, Louisiana, USA. Library of Congress.
Photograph by Marion Post Wolcott, Farm Security Administration, Office of War Information Collection.
Series 14.6
Mash-up with a Bowery Bar, NYC postcard
Series 15 2011
Original Jazz Heroes
Cartoons and jazz are both uniquely

American art forms that synthesized
themselves forth at almost the exact
moments in 20th century history and
matured at strikingly parallel paths.
Though they sprung from vastly
different ethnic and technological
roots both share that remarkable
American amalgam that forms when
individualism and collectivism collide
beautifully.
Lucky me, I love them both.
Having spent the early part of my

producing career almost exclusively
with Black jazz musicians I came to
appreciate them in a way that only
proximity allows. Same with my
decades in the cartoon community.
And who can deny the beauty of great

photography, another artform that bub-
bled up in the creative cauldron of the
20th century?
My postcard fixation was a perfect place

to bring these three strands –jazz car-
toons and photography– to friends. 13
years of focusing on cartoon cards, with
a smattering of music oriented imag-
ery, broke into the open with "Original
Heroes of Jazz" featuring the best of
the best. Another irresistible set would
follow in the years to come.

Series 15.3
Larry Young @
Van Gelder
Studio, NJ
Photograph by
Francis Wolff
Series 15.4
Louis Armstrong @
The New York
Aquarium
Photograph by
William Gottlieb
Series 15.1
Thelonious Monk @ Minton's Playhouse, NY Photograph by William Gottlieb
Series 15.2
Tony Williams @ Van Gelder Studio, NJ Photograph by Francis Wolff
Series 15.5
Ornette Coleman @ A&R Recording, NY Photograph by Francis Wolff
Series 15.6
Jimmy Smith @ Van Gelder Studio, NJ Photograph by Francis Wolff
Series 15.9
Lou Donaldson @ Van Gelder Studio, NJ Photograph by Francis Wolff
Series 15.7
Illinois Jacquet @ The New York Aquarium Photograph by William Gottlieb
Series 15.8
Ike Quebec @ Van Gelder Studio, NJ Photograph by Francis Wolff
Nat "King" Cole Trio @ Club Zanzibar, NJ Photograph by William Gottlieb
John Coltrane Photograph by Roy DeCarava
Series 16 2011
The Fredbot
While I had been instrumental in intro-

ducing the notion of the morphing logo at
MTV and Nickelodeon, I was still conser-
vative enough that there was a "right" way
and "wrong" way to represent a trademark.
Usually, that meant my way was right and
someone else's was wrong. Uptight much?
Frederator's icon was a red robot originally

designed by illustrator Arlen Schumer (see
page 17), but in comics and animation rein-
terpretation of original "models" excited me
and loosened me up.
It was clear that variations could be not

only exhilarating but revitalizing, reinvig-
orating, and refreshing to even the most
familiar of characters.
So, as different artists –some inside Fred-

erator, many outside– took their shot at the
"Fredbot" (so named by Frank Olinsky,
the co-designer for me of the MTV "M,"
dozens of iconic album covers and several
Frederator projects) I started a collection
that was worth sharing.
Series 16.3
Illustration by Michael J. Patrick
Series 16.4
Illustration by Ben Ross
Series 16.1
Illustration by Ernesto Adolfo Carrillo Valdez
Series 16.2

Series 16.5
Illustration by
Magimation
New Zealand
Series 16
[unpublished]
Photographer
unknown
Series 17 [unpublished] Pulp
Pin-ups
Enough with the pin-ups.

Unpublished for good reasons.
Illustration by
Enoch Bolles
for
Film Fun
October 1935
Illustration by
Enoch Bolles
Illustration by
(top)
Jim Schaeffing
circa 1950
(bottom)
Enoch Bolles
for Film Fun
July 1931
Illustrations by
George Petty
for (top)
True Magazine
calendar July 1948
and (bottom)
Esquire Magazine
calendar May 1947

Illustrations by
George Petty
and (bottom)
True Magazine
December 1946
Illustrations by
Peter Driben
for (top)
Whisper
January 1951
and (bottom)
Beauty Parade
May 1947

Illustrations by
(top)
Al Buell
and (bottomn)
Earl Moran

Bettie Page
(top)
photograhed by
Bunny Yeager (attributed)
and (bottom)
photographer unknown

Illustration by Jack Wittrup
for Lucky Strike

Series 18 2011-2013
Channel Frederator
As streaming video was exploding across

the globe our entry, Channel Frederator
–originally launched in November 2005–
grew exponentially.
Emil Rensing and I spun off a more robust

online video offering, Next New Networks,
with four other co-founders. We had come
up with the idea of reaching out to individ-
ual producers and programmers of indepen-
dent YouTube channels and bringing them
together into a "multi-channel networks"
(MCN) where, working together, we could
help them grow their audiences and earn-
ings.
Channel Frederator started as a way to sup-

port indie animators in getting their films
out to the world –TV networks certainly
weren't helping– and pointed the way for
tens of thousands of them to start YouTube
channels. At first, we could give them glob-
al exposure that film festivals could only
have in their dreams. But with the prolif-
eration of independently owned channels,
it felt like starting our own totally focused
MCN could give them a focused place to
collaborate and grow.
The Channel Frederator Network soon

became the world's #1, largest animation
network on the internet, and it remains so
today. More than 3000 independent film-
makers make it their home, while retaining
the ownership and programming of their
films and channels, but with all the assis-
tance and camaraderie they would need to
become successful.
Series 18.3
Photograph of Abraham Lincoln by Anthony Berger February 9, 1864, Washington DC Courtesy of the Library of Congress
Series 18.4
Series 18.1
Designed by Annie Chiu & David Karp Illustration by Eugene Mattos
Series 18.2
Series 18.6
Billboard for a
Wayne Shorter Series 18
jazz concert, Unpublished
Vienne, France Spread the Fred!
Series 18.5

Series 18 [unpublished] ReFrederator
Photographer of Dale Evans unknown / Robot illustration by Leslie Cabarga
Series 18.7
Illustration by Ed "Emsh" Emshwiller

Series 19 2012-2013
Cartoon Hangover
"Perfectly Odd Entertainment

for Perfect People."
Our tongues were firmly in cheeks, sort of,

when we launched Cartoon Hangover in
2012.
Next New Networks had been acquired by

Google and YouTube in 2011, so Channel
Frederator severed its distribution relation-
ship with them. Then, we made plans to
create a channel that would exclusively
feature Frederator's original productions.
And of course, all of those cartoons would

be chosen with the same care we'd always
shown. Great characters, great stories,
commercial talent with unique voices.
Melissa Wolfe had named a more, um,

mature(?) Channel Frederator playlist
'Cartoon Hangover,' and we thought it
would be a perfect name for a channel
that would be less for kids and more
appropriate for everything from Pendleton
Ward's Bravest Warriors to James Kochalka's
SuperF*ckers.
By the time this series came to an end the

Studio's productions and our programming
team had more than 17 million viewers.
Even we couldn't believe it!
Series 19.2
Illustrator unknown
Series 19.3
Illustration by Jeaux Janovsky
Series 19.1
Series 19 Unpublished
Series 19.6
Illustration by
Bill Ward
for
Humorama 1955
Series 19.7
Illustration by
James Kochalka
Series 19.4
Illustration by
Bill Wenzel
Series 19.5
Illustration by
RA Maguire
from
"Sex-Swinger"
by Andrew Blake
Series 19.10
"SuperF*ckers"
Illustration,
design &
created by
James Kochalka
Series 19.11
"Bravest Warriors"
logo design by
Breehn Burns
Series 19.8
Photographer
unknown
Series 19.9
Illustration by
Ben Kling
Series 19.12
Photograph by James J. Kriegsmann
Series 19.11
Series 19.14
Illustration by
Ed Valigursky
for Orbit
Science Fiction
Magazine No. 5
Series 19
[unpublished]
Illustration by
Ed Valigursky
Series 19.19 Series 19.20
Photograph of Frederick William Seibert Illustration by Bill Wenzel
by E.L. Graff, Oxford, New York
circa late 19th Century
Illustrator unknown Illustrator unknown
Series 19.23
Series 19.21
Illustration by
Homer Leassey
1960
Series 19.22
Series 19.26
Illustration by Frank R. Paul
for
Dynamic Science Stories
February 1939
Series 19.27
Photograph courtesy of NASA
Space Shuttle Discovery
Kennedy Space Center
Merritt Island, Florida
March 11, 2011
Series 19.22
Illustrator unknown
Illustration by Paul Rader
from
"Girls Dormitory"
by Joan Ellis
Series 19. 31
Illustrator unknown
Series 19. 32
Illustrator by Breehn Burns
Series 19. 28
Dymaxion Car
designed by
Buckminster Fuller
Series 19. 29
Illustrator unknown
Series 19.35
Photograph
of the
International
Space Station
Courtesy of
NASA
Series 19.36
Illustration by
Alex Schomburg
for
Fantastic Story
Magazine
Summer 1952
"A Thrilling
Publication"
Series 19.33
Illustration by
Alex Schomburg
Series 19.34
Illustrator
unknown
Circa 1952
Series 20 2013-2014
Too Cool! Cartoons
Our Cartoon Hangover originals led

with two series, Pendleton Ward's Bravest
Warriors (show run by Breehn Burns) and
James Kochalka's SuperF*ckers.
But from the beginning we planned on the

my stock in trade, discovering and nurtur-
ing new talent with short cartoons. We res-
cued the name from our last Nickelodeon
show (see pages 112 & 113) and started the
star search for Too Cool! Cartoons.
Eric Homan and Kevin Kolde led the ef-

forts from Frederator Studios' perch in Bur-
bank, California (the epicenter of cartoons
since Walt Disney set up there in 1940).
They reached out to old friends for recom-
mendations as well as talent they'd kept an
eye on, altogether taking in excess of 500
pitches of original ideas that led to the final
11 short films (I guess technically, 10, since
one is a two parter).
Then, two great things happened.
First, our Cartoon Hangover audience,

which had been 65% male, flipped itself
until the male/female ratio evened out to
50/50 almost immediately. Why? Easy.
Expanding on the Random! Cartoons trend,
40% of these new shorts were created by
women.
Then, the two-parter Bee and PuppyCat had

such an amazing reaction that we just had
to make a series. But, we had no money
for it. We turned to crowd funding and
incredibly, more than 18,000 fans chipped
in to make it the most successful animation
project in Kickstarter history.
Series 20.3
"Ace Discovery" Created by Tom Gran & Martin Wooley

Series 20.1
"Our New Electrical Morals" Created by Mike Rosenthal
Series 20.2
"Rocket Dog" Created by Mel Roach
Series 20.6
"Doctor Lollipop" Created by Miss Kelly Martin
Series 20.7
"Dead End" Created by Hamish Steele
Series 20.4/5
"Bee and PuppyCat" Created by Natasha Allegri
Series 20.10
"Spacebear" Created by Andy Helms
Series 20.11
"Blackford Manor" Created by Jiwook Kim
Series 20.8
"Chainsaw Richard" Created by Christopher Reineman
Series 20.9
"Manly" Created by Jesse + Justin Moynihan
Series 21 2013-2014
Series Premieres
My entire career was based on what I saw

as a simple premise. I fell in love with The
Beatles when they came to America when
I was 12, and from then on I was a fan of
world class talent. And that didn't change
one bit when, 28 years later, I joined a
cartoon studio.
And, like The Beatles, I knew that the talent

that would break out with the freshest and
most popular work was likely to be com-
pletely unknown, or unrecognized, by the
powers that be.
I was determined to never become someone

who couldn't be exhilarated by the stars of
tomorrow.
Frederator wasn't the beginning (and it

certainly wasn't going to be the end), I had
actually started my animation search doing
network identifications at the very be-
ginnings of MTV and Nickelodeon. And,
of course, I began on the cartoon side of
things when I became what was destined
to be the last president of the fabled Han-
na-Barbera Productions.
Channel Frederator and Cartoon Hangover

had introduced us to millions of new people
who had no idea who we were or what we'd
accomplished. Series 21 sought to rectify
their ignorance.
Series 21.3
"Cow and Chicken" Created by David Feiss
Series 21.4
"Johnny Bravo" Created by Van Partible
Series 21.1
"What A Cartoon!" Created by Fred Seibert
Series 21.2
"Dexter's Laboratory" Created by Genndy Tartakovsky
Series 21.7
"I Am Weasel" Created by David Feiss
Series 21.8
"Courage the Cowardly Dog" Created by John R. Dilworth
Series 21.5
"Oh Yeah! Cartoons" Created by Fred Seibert
Series 21.6
"The Powerpuff Girls" Created by Craig McCraken
Series 21.11
"My Life as a Teenage Robot" Created by Rob Renzetti
Series 21.12
"Nicktoons Film Festival" Created by Fred Seibert
Series 21.9
Series 21.10
Series 21.14
Series 21.15
"Ape Escape Cartoons" Developed by Mike Gray
Series 21.12.2
"Channel Frederator" Created by Fred Seibert
Series 21.13
Series 21.16
"Nite Fite" Created by Dan Meth
Series 21.17
Series 21.18
Series 21.19
Series 21.22
"SuperF*ckers" Created by James Kochalka
Series 21.23
"Too Cool! Cartoons" Created by Fred Seibert
Series 21.20
"Bravest Warriors" Created by Pendleton Ward
Series 21.20.2
"Cartoon Hangover" Created by Fred Seibert
Series 21.25
"GO! Cartoons" Created by Fred Seibert
Series 21.24
Series 22 2013-2014
Frederator Loves You
It was our friend David Karp who came

up with the phrase "Frederator Loves You"
in the very first episode of the Channel
Frederator video podcast. And no matter
how we tried to describe ourselves and our
far flung efforts in production and media,
it's the sentiment that keeps coming around
and around.
I've always thought that one of the greatest

things about entertainment is that when it
hits it right "love" is the word that fans use
the most.
"I love that show."
"I love that band."
"What a movie! I love it!"
And "you." My mentor Dale Pon told me

that "you" was the most powerful word in
advertising. And I believe him.
I love the co-workers that have managed to

put up with me for decades. I love the talent
that I'm lucky enough to wrangle. I love the
fans, the audiences. Without them, where
would I be? They're all just like me, look-
ing for something to love.
My co-workers, the exceptional folks in

our crews, the viewers in our audiences...
they're all "you."
Frederator loves you. Fred still loves you.

Series 22.4/Unpublished
Illustrated by the "Adventure Time" crew

Series 22.1
Illustrated by Pendleton Ward

Michele & Barak Obama / Unknown child & Princess Kate & Prince William
Series 22.9 / Series 22 [unpublished]
"Adventure Time" story notes
Series 22.2
Illustrated by Joey Ahlbum
Series 22
[unpublished]
Illustrated by
Bob Boyle
Series 22.3
Catbug!: "Bravest Warriors" model sheet
Illustation by Barbara Schwinn
Illustration by Jim Schaeffing
Series 22.6
Illustation by Robert G. Harris
Illustration by George Gross
Series 22
[Unpublished]
Illustrators
unknown
Series 22.10
"The Fairly OddParents model sheet
Illustrated by Ben Ross
Illustrator unknown
Series 22.6
Illustration by Joey Ahlbum
Series 22.8
Photograph of Dorothy Flood
by Alfred Cheney Johnston (1931)
Series 22
[unpublished]
Illustrators
unknown
Series 22.7
Illustration by Al Avison
Hi-School Romance #52
Harvey Comics 1949
Series 23 2014
Artists' quotations
Great artists and their creative processes

teach us all. I worked with some admired
jazz artists who expanded the way I think
about all the arts and led me to some of the
philosophies of the musical heavyweights.
The photographers who captured their

depths were amazing, but beyond that I
found in their words guidance that I could
never forget.
Series 23.3
Miles Davis, photographer unknown
Series 23.4
Count Basie by Duncan Mills
Series 23.1
Thelonious Monk by William P. Gottlieb
Series 23.2
Duke Ellington by Maurice Seymour
Series 23.7
Charlie Parker by William P. Gottlieb
Series 23.8
Louis Armstrong by Bradley Smith
Series 23.5
Ornette Coleman by Francis Wolff
Series 23.6
Cecil Taylor by Chuck Stewart
Series 24 2013-2014
Channel Frederator
Network
"The Declaration of Cartoon Independents!"
My approach to streaming video networks

was different.
In 2005, video on the internet was so new

–remember, the first video iPod dropped
at the end of that year– that Channel Fred-
erator offering to exhibit their films was a
revelation to the world's animators. Inside
of a few years, hundreds of thousands of
them had learned how YouTube could help
launch their personal cartoon channels.
At Next New Networks we conceived the

MCN –multi-channel network– as a way to
help independents grow their audiences and
earn money doing it. That led to investors
creating land grabs where they built their
MCNs bigger and bigger. And bigger. Some
of them sold for $1 billion before it dawned
on folks that they were pretty useless.
Having built my career at fan based,

"community networks like MTV and
Nickelodeon, those "everything for
everyone" networks made no sense to me.
I started the Channel Frederator Network in

2013 just for animators and animator-
adjacents like speed artists, reviewers, and
gamers.
By the end of 2014 when we had pro-

nounced ourselves as the "Declaration of
Cartoon Independents!" we had become
the world's largest streaming animation
network with almost 100 million monthly
views and representing more than 1000
channels around the world.
Illustrations from
"Animated Cartoons: How They Are Made Their Origin and Development" By E.G. Lutz, ©1920
Walt Disney knew the most about making animated cartoons, but
he wasn't telling anyone outside of his own studio. So E.G. Lutz
published a book with techniques and illustrations.
I'd had it on my shelf for years, admiring the drawings and figured
that the launch of the Channel Frederator Network was a perfect
place to share some of my favorites.
Illustrations from
Series 24.7
Series 24.8
Illustration by Eugene Mattos
Series 24.5
Illustration from
Series 24.6
Illustration by Simon Tofield
Series 24.11
Illustration by J. Howard Miller for Westinghouse Electric, 1943
Series 24.12
Series 24.9
Series 24.10
Illustration adapted from It took a few months after the formation of
Gilbert Stuart portrait of
the Channel Frederator Network to hit upon
George Washington
exactly the right approach to announcing
what and who we stood for out in the world.
Once we got there it seemed so... obvious!

Series 24.13
Illustration courtesy of NASA
Series 24.13.2
Series 24.14
Series 24.15
Illustration by Enoch Bolles for Film Fun January 1931
Series 25 2013-2014
Frederator Books
In the late 90s, I bought a leading under-
ground "comix" company founded in the 70s
which had fallen on hard times. Not know-
ing what I was doing didn't help them one
bit and it went under a couple of years later.
In the early 2000s, a partner and I made a

deal to work with animators to create 50
children's picture books with a major pub-
lisher. That didn't really go so well either.
Third time's the charm.
Digital publishing seemed like a winner

to me, especially for picture books. As my
boys went off to college my wife and I found
ourselves trying to figure out what to do
with shelf after shelf (after shelf) of their
pre-school books. Sure we loved Dr. Seuss,
Curious George, Amelia Bedelia and the
rest. But jeez. If only our library was digital,
we could have saved ourselves the costs of a
lot of carpentry.
Frederator Books was the result of that

thinking. Over the years we published more
than 30 titles, focusing on Breehn Burns'
Catbug (from Frederator's Bravest War-
riors), Joey Ahlbum's Lucy and Hilly series,
and Bob Boyle's Wow! Wow! Wubbzy!
For the first few years, I thought I'd stum-

bled again. The Kindle and iBooks formats
seemed to be designed to alienate kids and
their parents. They were a total bust. Epic!
Books was just one platform only for kids
that had an all you read, Netflix like, sub-
scription model. Hundreds of thousands of
reads later, Frederator Books broke the back
of my past follies.
Thank goodness, because I really love

books.
Series 25.2
Books written & illustrated by Joey Ahlbum

Series 25.1

Series 26 2013-2014
Frederator Studios &
Cartoon Hangover
You might have seen in Series 20 I

mentioned something about a record
breaking Kickstarter for Bee and PuppyCat.
Natasha Allegri was a first time animation

artist on our production of Adventure Time
at Cartoon Network, but she'd been making
her own web comics since middle school
when creator Pendleton Ward invited her on
to his crew. An amazing artist with impec-
cable skills, her storytelling was easily as
special. The fact that Natasha had been more
influenced by anime and manga than our
usual creators brought a special flavor to her
storyboard pitch of PuppyCat (the original
title).
The millions of views for the original shorts

gave us a dilemma, since we knew it was
neither a pure children's series, nor a rip
roaring punchline comedy that was general-
ly what networks for adults were looking for
in an animated show. But, we knew it was
not only exceptional, but beloved.
Our solution was to look to its already loyal

and giant audience of over 1 million global
viewers. We had trepidations, for sure.
Crowdfunding was still new in 2013, and we
certainly didn't know what we were doing.
You can look up the Wall Street Journal's

"How Frederator's Bee and PuppyCat Be-
came One of YouTube's Most Anticipated
Shows" to get the whole story. But I will tell
you that for the next five years the campaign
was the most backed animation Kickstarter
in history. Frederator produced Natasha's
maiden series for Cartoon Hangover, and
now, five years later, a second series is slat-
ed for a major streaming platform.
Series 26.11

"Bravest Warriors" Created by Pendleton Ward Written & directed by Breehn Burns
Series 26.2
"Bravest Warriors" Created by Pendleton Ward
Written & directed by Breehn Burns

Cartoon Hangover Cartoon Hangover
Illustrated by
Dean Ellis
Series 26.8
Cartoon Hangover
Cartoon Hangover
Series 26.12
Cartoon Hangover
Illustrated by Harold W. McCauley
for "Amazing Stories" August 1942

Series 26.13
Cartoon Hangover
Illustrated by Alex Schomburg
for "Startling Comics" No. 43 January 1947

Series 27 2014
Cartoon Hangover
Thanks to Bravest Warriors, Too

Cool! Cartoons and Bee and PuppyCat,
Frederator's programming team had
Cartoon Hangover was banging on all
cylinders. Its first year had seen record
subscriber growth. 2014 began with 18
million unique viewers and had swelled
to 29 million by the end of the year.
This postcard series took some of the

vintage science fiction illustrations I
loved so much (it echoed the comedy
sci-fi surging through our cartoons) to
remind the lucky recipients of our
limited edition cards just how steady
and loyal our growth was during the year.
Series 27.3
Cartoon Hangover
Illustrated by Gene Fawcette

Series 27.1
Cartoon Hangover
Illustrated by Rudolf Belarski
A year in the life...

Series 27.4
Cartoon Hangover
Illustrated by
Robert Gibson Jones
Series 27.5
Cartoon Hangover
Illustrated by
Alex Schomburg

Series 27.5.2
Cartoon Hangover
Illustrator unknown
Series 27.6
Cartoon Hangover
Illustrated by
H.W. McCauley ORIGINAL CARTOON POSTCARDS 369
Series 27.7
Cartoon Hangover
Illustrated by Alex “Xela” Schomburg
for Startling Comics No. 53, September 1948
Series 27.8
Cartoon Hangover
Illustrated by Alex Schomburg
"Rocket to Nowhere" by Philip St. John
aka Lester del Rey
Series 27.9
Cartoon Hangover
Illustrated by Frank R. Paul
for Satellite Science Fiction
December 1957
Series 27.10
Cartoon Hangover
Space Shuttle concept illustration
Courtesy of the San Diego
Air and Space Museum Archive

Series 27.11
Cartoon Hangover
Illustrated by
Stanley Borack
for
"The Man from Avon"
by Michael Avallone
1967
Series 27.10
Cartoon Hangover
Series 27.12
Cartoon Hangover
Illustrated by Charis Jackson Barrios
Design by Ambar Del Moral

Series 28 2014
This & That
At the same time that the Channel Frederator

Network and Cartoon Hangover were
growing and Frederator Studios was
humming, there was a lot of other stuff
going on in the expanding Fredverse.
Fredbot was the name of a YouTube channel

we dropped especially for young kids. It
featured original animation by our friend
Joey Album –featuring his original charac-
ter, Lucy the Dinosaur, and our series star
from Wow! Wow! Wubbzy!– illustrating
classic nursery rhymes like "The Wheels
on the Bus." The animation was great, the
performance of the channel, less so.
2014 was also a year of some big anniver-

saries for us, like for Channel Frederator
and Butch Hartman's The Fairly OddPar-
ents, a classic Frederator production.
Amazon's publishing-on-demand platform

afforded me lots of opportunity to take the
thousands of images generated in our very
visual medium and compile them into beau-
tiful paperback books (like this one). Two
postcard sized tomes, one based on Channel
Frederator and Cartoon Hangover, and one
focused on our original shorts we've pro-
duced since 1998, have brightened the lives
of everyone who's received them.
Lastly, I had to remind people that voting

is the one right in the United States that we
can never take for granted. Register and
vote, our lives depend on it. No joke.
United
States
Election
2014
Series 28.1-1
Sculpture by
Frank Olinksy
Series 28.1-2
Photograph of Harri-
son Schmitt
by Eugene Cernan
Apollo 17 flight
December 12, 1972
Courtesy NASA
Series 28.1-3
Peter Fonda's
American Flag Patch
from the movie
"Easy Rider"
1969
Series 28.13
Frederator Studios Fredbot illustration by Natasha Allegri
Series 28.15
Frederator Studios Fredbot illustration by Ben Ross
Series 28.14
" The Fairly OddParents" Created & illustrated by Butch Hartman
2015 was a year of important
anniversaries for Frederator.
Butch Hartman's "The

Fairly OddParents" turned
15, on it's way to the record
books with one of the
longest original production
runs of any kids cartoon
series.
Channel Frederator was

one of the very first internet
channels completely dedi-
cated to cartoons. 10 years
coincided as the exact same
age as YouTube, the chan-
nel's biggest distributor.
Series 28.12
Channel Frederator Fredbot designed by Ben Kling
Fredbot illustrations by Ben Ross
Fredbot illustrations by Ben Ross
Series 28.3
Frederator Networks
Series 28.5
Frederator Studios
Series 28.10
Frederator Studios
Series 28.11
Channel Frederator
Frederator Books
Series 29 2015
Channel Frederator
Network
And the hits just keep on coming!
There's no doubt about it, independent

animators needed to be part of something,
and the Channel Frederator Network gave
them that, and more.
As we expanded the network to over 2000

separate global channels, which resulted
in more than 3 billion lifetime views, we
found that staying focused on animators
was paying off in ways we hadn't imagined.
Many of our channels which started as sole
proprietor productions –an animator who
wrote, drew, and animated each and every
video on the channel– the chat rooms we
put together allowed them to meet each
other and find better ways to produce and
program. For instance, we found that Aus-
tralians would contract with artists in Chile
to paint backgrounds. Not only did it free
them up to be more creatively productive,
it gave work to other independents that
hadn't yet built a client network. Especially
difficult if someone didn't live in an active
animation city.
Helping creative people fulfill their dreams

was not just a side benefit, it was a mission.
And the fact that the Frederator name was

gaining new residence across the world...
well, that was just great.
Series 28.3
Illustration by Steven Ray Brown aka StevRayBro
Series 28.4
Series 28.1
Series 28.2
Photograph of Abraham Lincoln by Anthony Berger
February 9, 1864, Washington DC Courtesy of the Library of Congress
Series 28.7
Series 28.8
Series 28.6
Series 28.8.2
Series 28.11
Illustrator unknown
Series 28.12
Illustrator unknown
Series 28.9
Illustration by Ingrid Jiménez
Series 28.10
Illustration by E.G. Lutz 1920
Series 30 2015
Cartoon Hangover
More sci-fi images, more postcards. More

productions, more viewers. Total score.
Series 30.2
Illustration by Edmund "Emsh" Emshwiller for
'The Original Science Fiction Stories'
November 1956
Series 30.2
Illustration by D. Bruce Berry
for 'Destiny' 1950
Series 30.1
Illustration by Frank R. Paul
for 'Science Fiction' June 1939
Series 30.7
Illustration adapted from
Cragstan's 'Mr. Atomic'
Series 30.8
Illustration by Paul Lehr
for "Podkayne of Mars" by Robert A. Heinlein
Series 30.4
Illustration by Vic Prezio
for
'Magnus, Robot Fighter' #21
1968
Series 30.6
Illustration by Edmund "Emsh" Emshwiller
for 'Amazing Stories' Vol. 38, No. 4 April 1964
Series 30.12
Illustration by Edmund "Emsh" Emshwiller
for 'Galaxy Science Fiction' December 1956
Series 30.11
Illustration Harold W. McCauley
for 'Imagination Magazine' February 1954
Series 30.9
Illustration by A. Leslie Ross
for
'Dynamic Science Fiction' #1
December 1952
Series 30.10
Illustration by by Stan Fraydas
Series 31 2016
The Leaderboard
Video gaming was becoming big business

on YouTube. Gamers playing games and
having fun were gaining more and more
traction across the world, and the most pop-
ular of them had rapidly become the biggest
YouTube celebrities.
The problem for me was that I was not a

gamer, didn't understand, or care to under-
stand, gamers. The category held no inter-
est to me.
But, the same could not be said for every-

one around me, including –loudly– my
Frederator co-workers. Aside from the fact
that I had been supportive of Frederator
Studios producer Kevin Kolde's desire to
adapt video games into animated series,
each and every noontime, most of the New
York staff would gather at the lunch table,
fire up a console and whoop and holler as
they competed with the game of the day.
I was completely out of it and resisted their

call for us to start a gaming channel. Until
Nate Olson, Matt Gielen and Jeremy Rosen
couldn't stand it anymore and demanded to
start The Leaderboard.
They were right. The channel rapidly grew

and stayed vital right through the time I left
the company in 2020. It helps to have smart
colleagues around you.
Series 31.2
"Thor's Fight with the Giants" by Mårten Eskil Winge 1872

Logo designed by Jennifer Dean

Series 31
[unpublished]
Sculpture of a
discus thrower,
Roman period,
2nd century
AD, after a
lost Greek
original of
about
450–440 BC
in the
British
Museum
Series 31
[unpublished]
Illustration by
Allan Anderson
for
Planet Stories
March 1952
Series 31.4
Illustration by Allan Anderson for Planet Stories March 1951
Series 34 2016
Cartoon Hangover
Photograph courtesy of NASA Illustration by Paul Lehr
Goddard Space Flight Center for
Solar Dynamics Observatory [SDO]/S. Wiessinger 'Orbit 9' anthology 1972
February 11, 2013-February 11, 2014
Photograph of Apollo 11 July 1969 Illustration by Ed Valigursky
Courtesy NASA for
'Orbit Science Fiction' No.4
September/October 1954
Series 35 2016
Channel Frederator
Network
My childhood friend, Frank Olinsky, had a

design collective that created the MTV logo
for me back in the 80s. Even before that
he'd designed and illustrated album covers
for my indie record company. At Next New
Networks he did a series of posters for us,
and even did one of the (sort of ) annual
New Year's posters for Frederator in 2006.
One of my favorites was the poster Frank

made for Channel Frederator, an adaption
of a famouse Elvis Presley Greatest Hits
package. Then, I adapted his adaptation for
one of our postcards.
50,000,000 Elvis Fans Can't Be Wrong

Elvis' Gold Records - Volume 2
RCA Records 1959
Series 35.4
Photography courtesy of NASA
Series 35.5
Illustration by Editions SPES SA Lausanne, Switzerland
Series 35.1
Illustration by Frank Olinsky
Series 35.2
Series 36 2017-2018
GO! Cartoons
GO! Cartoons was the last of my shorts

incubators when I was with Frederator.
Originally, a joint venture with Sony
Pictures Animation, Frederator took
back the intellectual properties when
Sony changed management.
Eric Homan and developement manager

Kelsey Calaitges, along with intern Luca
Depardon, heard almost 800 pitches to land
on the final 12 shorts (whew!) that were
produced at the studio and then exhibited
on Cartoon Hangover, where you can still
view them today.
As ever, you'll be seeing a few of the spin

off series on a video platform near you.
Series 35.2
"The Summoning" Created by Elyse Castro
Series 35.2
"Boots" Created by Alison & David Cowles
Series 36.1
GO! Cartoons
For design geeks only. As ever with me, vinyl LP covers

influence some of our work, and GO! was no exception.
Dexter Gordon's GO and Jackie McClean's "it's time!!!!!,"
both Blue Note albums designed by incomparable Reid
Miles, got mashed together for the lead postcards.
Series 35.6
"Nebulous" Created by Brent Sievers
Series 35.7
"Welcome to Doozy" Created by Kate Tsang & Jennifer Cho Suhr
Series 35.4
"City Dwellers" Created by Grant Kolton
Series 35.5
"Rachel and her Grandfather Control the Island" Created by Jonni Phillips
Series 36.10
"Tyler & Co." Created by Gabe Janisz
Series 36.11
"Kid Arthur" Created by Joel Veitch and David Shute
Series 36.8
"Both Brothers" Created by Juris Lisovs
Series 36.9
"The Bagheads Get Trashed" Created by D.R. Beitzel
Series 36.12
"Thrashin' U.S.A." Created by Rory Panagotopulos
Series 36.13
"Pottyhorse" Created by Damien Barchowsky & Jeff Drake
Series 36.14
GO! Cartoons

Series 37 2016
Átomo Network
José Carlos García De Letona is one of the

founders of the very successful Ánima sev-
eral years ago through our mutual pal Rita
Street and searched forever for projects we
could venture in together.
Finally, in 2015 we arrived at a joint

venture in the YouTube space. We'd create
a multi-channel network specializing in in-
dependent Hispanic animators and gamers,
a rapidly growing, and talented, category.
A few hundred million views later,

The Átomo Network is, not to put
too fine a point on it, thriving. No
surprise, because the talent in Latin
America and Spain is amazing, and
the world is finally catching on.
Series 37.2
Art direction & illustration by Paola Howard

Series 37.1
Art direction & illustration by Paola Howard

Series 38 2017-2018
Cartoon Hangover
Promises
My friend/partner/brother-in-law Alan
Goodman and I made our initial reputation
in television developing the first branding
strategy in the media business. First at MTV,
then at Nickelodeon, Nick-at-Nite, VH1, and
Comedy Central, we developed an approach
to telling our stories to audiences in a way
so they become deeply loyal fans. In the
21st century it's often called "community."
Alan and I thought we should make promises

that we could actually keep to our viewers,
and finding infinitely creative ways to tell
them what we believed in. It worked like
crazy.
So, no surprise that I would turn to Alan to

help develop promises for our new Car-
toon Hangover Select subsciption channel
we were starting with Crunchyroll's parent
VRV. I was too close to the channel to be
objective, and besides, you can understand
that our programming team didn't want me
hovering over their work. Who can blame
them? The boss has a way of being overly
catered to, even if the boss insists that he's
just another person in the room.
Alan didn't disappoint. In collaboration with

the team, he developed wonderful, authentic
promise language. Not to mention fun. And
what kind of entertainment brand would we
be if we weren't having fun?!
Before I leave you, I should cop to two

errors. On the 2nd postcard, I got one of
the promises wrong. And don't ask me what
happened with the series numbering, or
even that I sent out two versions of the same
promises months apart. It's too boring and
too dumb to explain. D'oh!
Series 38.2

Series 38.1
Frederator VRV

Series 38.2-2
"We all have something good inside."

Series 38.1-2
"Thank you for sharing your Cartoon Hangover"

Series 38.4
"Perfect odd entertainment for perfect people."

Series 38.3-2
"Original Series"

Series 38.6
"It''s bad
for you."
Series 38.5
"Together we stand for independent artists."

Series 38.8
"From creators to you."

Series 38.7
"Your #1 cartoon channel."

Series 39 2017
Channel Frederator
Network
By October 2017, the Channel Frederator

Network passed the 1 billion monthly view
milestone.
I thought 1 billion of anything was well

worth stopping this limited edition postcard
series for the year.
By the way, my favorite card in this

series, "STICK THIS ON YOUR WALL"
was a direct cop from a Blondie handbill
in the thick of the original New York
punk rock era.
Series 39.3
Series 39.4
Illustrated by Eugene Mattos
Series 39.1
Illustrator unknown
Series 39.2
Illustrator unknown
Series 40 2017
Frederator Studios
The biggest story in this Frederator Studios 2007's Series 6). Both approaches were
series is Castlevania on Netflix. right on the money, but the script sat
for years while Kevin searched for the
When Kevin Kolde joined Frederator 15 right platform partner.
years ago, he brought along with him a
premise and two properties. Finally, in 2015, that partner present-
ed itself. Larry Tanz and Ted Biaselli
His argument was simple. Almost no one at Netflix understood the project right
had recognized that the continuing and away. Adding the folks at Powerhouse
logarithmically growing category of video Animation on the team –they were total
games was ripe for development as animated fans of the game, especially director
series. Kevin did. Everyone agreed that Sam Deats and his assistant director
the movies that had been made from video brother Adam– was the perfect capper.
games, like Lara Croft or Silent Hill, were
embarrassing creative failures. Kevin was In 2017 the series dropped at Netflix.
determined to make the best video game
adaptation in the world. And, no surprise, the critical and audi-
ence wisdom agreed that Kevin Kolde
The pieces on the project were put togeth- had produced "the best video game
er carefully, over time. The first job was adaption ever!"
to imagine an early 90s, low resolution
Nintendo NES game as a character driven
film. As a fan of Warren Ellis' graphic nov-
els, Kevin took the shot that Warren would
be perfect, even with his scant experience
in screenplays and unfamiliarity with the
game. Visually, he felt like James Jean's
work pointed in the right direction (check
out an inspirational piece way back in
"Castlevania" Executive Producers: Kevin Kolde, Warren Ellis, Fred Seibert

"Castlevania" Executive Producers: Kevin Kolde, Warren Ellis, Fred Seibert

Series 40.5
"Bravest Warriors" Developed by Breehn Burns Created by Pendleton Ward

Series 40.1
Series 40.2
Series 41 2017
Another Postcard
There were a bunch of images in my bag

that had nothing to do with anything at
Frederator, but I loved them.
Series 41
[unpublished]
Photography of
Tom Pomposello
@WKCR-FM
Columbia
University
Recording session
for
"Blues from
the Apple"
1973
Series 41
[unpublished]
Photography
of Foxy
Ann
Yancey
@WKCR-FM
Columbia
University
Recording
session
for
"Blues from
the Apple"
1973
Series 41.1
Series 41.2
Illustrator
unknown
Series 42 2018
20 Years
There's only one 20th anniversary,

especially for a cartoon independent.
Series 42.2

Series 42.1

Series 43 2018
Channel Frederator
Network
Really? 10 billion views?

Series 43.1

Cartoon Hangover
Mini-Series
The New York based programming group,

led by longtime Frederator Carrie Miller,
was developing cartoon mini-series. They
could be produced differently than our
traditional process at Frederator/Burbank
which was perfect for Cartoon Hangover
Select on VRV and YouTube.
2018 was a challenging time for our

business on a number of front, so sadly,
these cards were never published.
Series 44.3
"(Not) Hero" Created by Liz Chun
Series 44.4
"Shadowstone Park" Created by Jason Steele
Series 44.1
"Slug Riot" Created by Mike Rosenthal
Series 44.2
"Chris P. Duck" Created by Ralph Kidson
Series 46 2018
Original Cartoon Heroes
Illustrated by
Jeaux Janovsky
Artist Jeaux Janovsky was the very first

community manager at Channel Frederator,
our first streaming video brand.
Jeaux studied animation at CalArts and

loved sketching his cartoon heroes. I loved
his approach and his passionate fandom (it's
why he was a great liaison with our view-
ers) and commissioned these drawings for a
postcard series. It took several years for me
to find a slot, but it was great to share our
forefathers with our friends.
Series 46.2
Max Fleischer

Series 46.1
Ub Iwerks

Series 46.4
Chuck Jones

Series 46.3
Tex Avery

Series 46.5
Bill Hanna & Joe Barbera

Series 47 2019-2020
Cats (of all kinds)
During the 2000s, the internet denizens her use of unique mediums and histor-
had fallen so in love with cats that I would ical storytelling. Jafri is an award-win-
joke to the Frederator Studios’ development ning animator and professor at Parsons
folks “If someone pitches a cat cartoon, say School of Design in New York. Lei Lei
yes without even looking at it.” is China's indie darling in animation,
known worldwide for breaking out of
Cats –at least cat hybrids– have been very his country's rigid creative mould. And
good to Frederator. just to give you a sense of the scope of
the festival, PuppyCat was among the
The first series on our Cartoon Hangover more than 5000 entries for competition
channel, Bravest Warriors, though created in categories like features, short films,
by Pendleton Ward (Adventure Time) was virtual reality, and retrospectives.
being run by the fantastic Breehn Burns,
and in January 2013, the seventh episode The first PuppyCat card was adapted
featured his creation Catbug. A viral sen- from the award winning episode title
sation was born and by 2019 we’d started card sketched by Natasha and sublimely
developing it as a television show, and a painted with beautiful detail by art di-
social media meme series. rector Efrain Farias. They had so many
gorgeous paintings there was almost no
Then, in August 2013, Natasha Allegri’s choice but to publish several postcards.
Bee and PuppyCat exploded, eventually
becoming the most backed animated Kick- Later in the year, the 12 year daughter
starter in history. A few years later we were
of our general counsel tipped us to the
producing a second series, Bee and Puppy- more than 150 million TikTok video
Cat: Lazy in Space. views that Catbug had inspired, added
to the 200 million Giphy loops that
Postcard wise, Frederator took off almost were watched across the world. Need-
the whole of 2019 but towards the end of less to say, all hands were on deck to
the year both PuppyCat and Catbug both create more
made their presence loudly known.The cats Catbug programming and promote it to
were meowing to be let out of the studio. our industry friends.
Lazy in Space won Best Animated Series Cats. They've been very very good to
at the 43rd annual Ottawa International Frederator.
Animation Festival and that isn't just any
prize. OIAF has been North America's
most prestigious animation award for 43
years. This year's competition screenings
were judged by three official juries. The
Competition Feature Jury included Lizzy
Hobbs, Faiyaz Jafri, and Lei Lei. Hobbs is a
BAFTA award-winning animator known for
Series 47.3
"Bee and PuppyCat" Created by Natasha Allegri Title card art for "Did You Remember!?"
"Bee and PuppyCat" Created by Natasha Allegri Title card art for "Gentle Touch"
Series 47.1
"Bee and PuppyCat" Created by Natasha Allegri Title card art for "Little Fingers"
Series 47.2
"Bee and PuppyCat" Created by Natasha Allegri Title card art for "My Favorite"
Series 47.5
"I'm Catbug: Everything is OK"
Photograph courtesy World of 3A

Series 47.4
"What's New Catbug?"
Illustrator unknown

Series 48 2019-2020
After almost a year off, the PuppyCat cards
gave me the bug again, the postcard bug.
And ultimately, the best thing to do with our
cards is to remind our friends and indus-
try associates the values that I've stood for
always.
"Frederator loves you."
Let me rant for a minute. I think the last

twenty some odd years has proved that
there’s no other companylike Frederator.
Really, we’re special. Arrogant?
Sure.
"Frederator loves you" has been more than

justa slogan around here. It's been a battle
cry that expresses exactly why I started the
company.
"You." First and foremost it's our audiences,

whether they're the kids that watched our
stuffon Nickelodeon and Cartoon Network,
or thestill-kids who grew up and watch us
on Cartoon Hangover, Get in the Robot or
Netflix.
"You." All the folks that work in and around

Frederator across the globe, making cartoons
and videos and channels, figuring out the
best way to show them off to people.
And "you." The world class creators –mostly

first timers– we've been lucky enough to
have in our corner.
I think it's fair to say that without "you"

there wouldn't be an "us." From my perspec-
tive we'reall one big bunch, loving the same
things, everyone playing their own roles. I
don't think anyone at Frederator would have
it any other way. It’s just too much fun mak-
ing the world smile.
Classic music posters
inspired many cards in this
series.
Being New York based, the

soul acts that dominated
my era were the subject
of advertising posters that
showed up most clearly in
my eyes.
Baltimore's Globe Poster

was the primary provider
of the R&B epoch. They
helped advertise everything
from carnivals to boxing
matches, daredevil shows to
rock concerts. But I noticed
James Brown, Otis Red-
ding, Al Green, and Kool
& the Gang. They were the
first shop to use fluorescent
–day-glo– inks, starting a
trend that eventually almost
all letterpress plants adopt-
ed for more attention.
Globe lasted from 1929 all

the way to 2010, but when
posters were no longer a
primary ad medium, MICA
(Maryland Institute College
of Art) acquired their assets
and operates the shop as a
Series 48.2
Homage to Globe Poster, Baltimore, Maryland, USA non-profit, still providing
after a soul revue featuring letterpress services to all
David Ruffin, Dyke & the Blazers, Kool & the Gang, and more comers.

Series 48.1
Illustration from a John England catalog UK

The first time I'd even heard
of Hatch Show Print was
when I wandered into their
shop on Nashville's main
drag with a crew of world
glass graphic designers (we
were the national board
of AIGA: the American
Institute of Graphic Arts).
Needless to say we were
mesmerized, as was Hatch's
lead artist and boss, Jim
Sherraden. An instant, life-
time bond was formed and
Jim was immediately invit-
ed to lecture at local design
groups around the world.
Hatch Show Print was

famous for posters of
country music and rocka-
billy, from Hank Williams
and Uncle Dave Macon
to Johnny Cash and Elvis.
And that doesn't count
their stuff for local diners,
medicine shows and carni-
vals. They're still in active
business as a non-profit
owned by the Country Mu-
sic Association and eventu-
ally I commissioned several
Frederator crew party post-
ers from the in-house artists
Series 48.4 that Jim had nurtured to
Homage to understand that letterpress
Hatch Show Print could be as artful as any
Nashville, Tennesee
painting or sculpture.
USA

Series 48.3
Homage to Colby Poster Printing, Los Angeles, California, USA

Series 48.7
Homage to Globe Poster, Baltimore, Maryland, USA
after concert posters for The Association and B.B. King

Obsessions being what they
are, every once in a while I
go on an internet jag look-
ing for blues, jazz, rock, or
even folk posters from back
in the day.
My black hole research re-

cently hipped me to Colby
Poster Printers, in business
from 1948 until 2012. Any-
one driving through SoCal
would see their signature
day-glo posters for hair
weaving salons, hip-hop or
rock shows, but I had no
idea they'd been adopted
by the modern conceptual
artists in Los Angeles who
were in their contemporary
dadaist phases.
Unlike Globe or Hatch,

even though dozens or art-
ists used Colby for their vi-
sions, no non-profit stepped
up when the shop closed.
But, if you were to search
eBay, their vintage day-glo
blanks sell for as much as
$5000.
Series 48.5

Series 48.6

Series 48.6
Homage to
Colby Poster
Printing,
Los Angeles,
California, USA
Non-Series
1997-2019
It was several years before I officially

started out organizing our card into series.
Along the way there were several cards
that were privately distributed for address
changes or special events.
Part of Frederator's deal with MTV
Networks at the beginning of the 21st
Century is that I would consult on the
programming of their channels like
Nickelodeon and MTV.
While starting to promote the short

lived TNN: The National Network
(formerly The Nashville Network,
eventually Spike TV) I sent photogra-
pher David Ramage across the country
to sketch out the flavor of America for
this rebranding. Citizens everywhere
flocked to David, it was perfect.
And, of course, we snuck in a little

Frederator –pre-Fredbot– for postcards
too.
Frederator
across America 2001
Photography by
David Ramage
Address change 1997

Wow! Wow! Wubbzy! Wow! Wow! Wubbzy! was a Frederator
Created by Bob Boyle production that we did as part of a joint
venture with Susan Miller's Mixed Media
Group. Occasionally, there were trade shows
for licensed products where we did postcard
giveaways to potential partners.

Wow! Wow! Wubbzy!

Wow! Wow! Wubbzy!

Wow! Wow! Wubbzy!

Wow! Wow! Wubbzy!

Wow! Wow! Wubbzy!

Wow! Wow! Wubbzy!

Wow! Wow! Wubbzy!

Channel Frederator RAW 2008
In the immediate aftermath of the Friendster,

MySpace, and Facebook phenomenons, when no one really
understood exactly what a social network was, tech super-
star Marc Andreessen launched Ning, a social network of
individual community networks. We jumped aboard with
Channel Frederator RAW, and for a couple of years it kind
of worked.

Channel Frederator
began life because of the
thousands of talented
animators around the
world who could only
get their films seen at
obscure festivals. The
internet and smartphones
gave Frederator a chance
to put a cartoon film
festival directly in the
hands of millions of
fans. So we put the word
out in our community
and got over 1000 sub-
missions first four weeks
with thousands more to
come over the years.
Channel
Frederator
Video podcast
2006
Illustration by
Eugene Mattos
Filmmaker Dan Meth had
set a daunting task, creating
39 shorts for Frederator
by his lonesome self in 39
weeks, The Meth Minute
39, our fourth big idea car-
toon incubator. One night,
exhausted, he stopped by
a bar with a friend, started
a tab and plopped down a
stack of 3x5 index cards.
As he drank, he drew. And
by the end of the night, he
had an increasinging sloppy
short film all finished.
We loved the film and

thought it would be a great
idea for an animation com-
munity event. With produc-
tion by Carrie Miller, Dan,
Lee Rubenstein and Eric
Homan, we started the hap-
penings at the Ottawa Film
Festival, and eventually did
successful D&Ds in Port-
land, Oregon, New York
City, and Los Angeles.
Soon, fans did their own in
Miami and Boston.

"Drinking and Drawing"
2008/2009
Created by Dan Meth
Illustration by Dan Meth
Illustration & design by

Elliot Cowan ORIGINAL CARTOON POSTCARDS 505
ReFrederator: The Daily Vintage Cartoon Podcast 2006
Illustration by Leslie Cabarga
I love old cartoons, they were one of the staples when I was first
watching television. They were cheap for the stations and wonderful
for us kids of the 50s. Hundreds have fallen into the public domain,
so after Channel Frederator dropped we commissioned master
illustrator Leslie Cabarga to reimagine a retro Fredbot. We had no
idea what a copyright minefield PD films would be in the internet
age, so sadly, ReFrederator was soon no more.

Get in the Robot event: August 9, 2019 YouTube Spaces NY
Art direction: Alexandria Batchelor Illustration: Maria Mediarito
Get in the Robot was Frederator's fast growing anime fan channel, and
the latest YouTube channel dropped by the Frederator programming
team in New York. In just over a year GitR developed a worldwide
fan base with hundreds of thousands of viewers and literally hundreds
of millions views of its videos. Of course, over the course of that year
we hadn't gotten around to postcarding it this beautiful non-series card
will have to be it.

"Frederator Loves You: Best of Frederator 1998-2018"
Designed by Fred Seibert
I put together
We put together this "Best
this "Best of Frederator:
of Frederator, the First 20
The First
Years" as a20 Years" as agiveaway,
promotional promotional giveaway.
so of So of
course, we
course, we needed a promotional postcard to
needed a promotional postcard for the promotionalgo along
book. with the promotional book.

Fred Seibert Presents: The Complete Frederator Postcards 1997-2020

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Fred Seibert Presents: The Complete Frederator Postcards 1997-2020

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Fred Seibert presents

The FredFilms Professional Library

ChalkZone, The Fairly OddParents, Fanboy & Chum Chum,

Adventure Time, Courage the Cowardly Dog, Cow & Chicken,

107 Facts, Bee and PuppyCat, Bravest Warriors,

Frederator Fredbot designed by Arlen Schumer.

Frederator's spine logos designed by AdamsMorioka, Los Angeles.

All rights reserved, including the right to reproduce

1st edition September 2020

This introduction is probably for design nerds only. Maybe

I started Frederator in 1997 to search out to innovative,

The postcards pretty much started out as a compromise

Through a series of random events, I'd joined the cartoon

After all, back in the day, cartoons were taken seriously.

I've always been a pop kind of guy, as in popular culture,

Everyone had a rock band in those days and I was no

"Finally!" I thought. "I can be part of the next graphic rev-

My creative partner, Alan Goodman, and I set out to find

What do you know, it worked! Before I knew it the presti-

Well, here I was in a job –producing scripted television

Since I always start by copying what's special, and adapt- Posters

Hanna-Barbera's What A Cartoon! creators were looking

A few years later, when I started Frederator Studios with

The cards were well received, and it was a blast seeing

–Fred Seibert, September 2020

Short cartoons have been the lifeblood of

I started producing an industrial amount of

Compact, animated films began in the silent

Unquestionably, the innovative work of

Oh Yeah! turned out to be Frederator's

Thank you Larry Huber.

Larry Huber, a 50 year veteran

When I first joined the business

But let's not forget that Larry is a

ORIGINAL CARTOON POSTCARDS 17

18 THE COMPLETE FREDERATOR POSTCARDS 1997-2020

ORIGINAL CARTOON POSTCARDS 19

ORIGINAL CARTOON POSTCARDS 21

22 THE COMPLETE FREDERATOR POSTCARDS 1997-2020

Bill Burnett had worked for me in advertising and

Harvey Kurtzman invented MAD Magazine and

26 THE COMPLETE FREDERATOR POSTCARDS 1997-2020

ORIGINAL CARTOON POSTCARDS 27

If Butch had only created

But, you need to add in his

"And that's not all!"

A friend's 12 year son had

ORIGINAL CARTOON POSTCARDS 29

When I asked Butch about

Steve and Butch made

"Terry and Chris"

After creating three amazing shorts

34 THE COMPLETE FREDERATOR POSTCARDS 1997-2020

ORIGINAL CARTOON POSTCARDS 35

"A Dog and His Boy"

Frederator Manga Fredbot

ORIGINAL CARTOON POSTCARDS 39

ORIGINAL CARTOON POSTCARDS 41

Mike Bell is an artist,

"Super Santa: the adven-

We loved it, Nickelodeon

ORIGINAL CARTOON POSTCARDS 43

44 THE COMPLETE FREDERATOR POSTCARDS 1997-2020