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

8/9/2019 Original Cartoons, Volume 2: The Frederator Studios Postcards 2006 - 2010

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Original Cartoons

Volume 2:The Frederator StudiosPostcards 2006-2010

Edited byEric Homan & Fred Seibert


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Original Cartoons: The Frederator Studios Postcards 2006-20102010, JoeJack Inc. All rights reserved.

ChalkZone, The Fairly Oddparents, Fanboy & Chum Chum,Nickelodeon, My Life as a Teenage Robot, andRandom! Cartoons TM& 2010, Viacom Intl., Inc. All rights reserved.Used with kind permission.

Adventure Time with Finn & Jake, Cartoon Network,: TM & 2010,Cartoon Network. A Time Warner Company. Used by kind permission.

Channel Frederator is a registered trademark of Channel FrederatorLLC. All rights reserved. Used with kind permission.

Frederator Studios and the Fredbot Frederator robot are registeredtrademarks of JoeJack, Inc. All rights reserved.

The Frederator Fredbot robot designed by Arlen Schumer.Frederator logo designed by Adams-Morioka, Beverly Hills, California.

The Meth Minute 39 andNite Fite: TM & 2010, Bellport CartoonCompany, Inc. All rights reserved. Used with kind permission.

All rights reserved, including the right to reproduce this book or por-tions thereof in any form whatsoever.

ISBN-10: 1-45158-613-2 / ISBN-13: 9-781451-586138

First Frederator Books printing May 2010


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Preface

the prospect of being oneof 200 people to receive limited edition Frederatorpostcards was intoxicating. Little did I know that I wasonly receiving every third card. I needed the others! E-baywas too expensive and time consuming.

As usual, Fred had the solution: a monumental publicationchronicling the Frederator postcard. I realize that thoseof you unfamiliar with this collection will clamor for yourfair share of future mailings, but its all in the cause of thesimple postcard.

You will forever abandon your e-mail, SMS, IM, Twitteraccount and mental telepathy in favor of this simple,elegant form of communication.

BRAVO, FRED!

Bob Osher is the president of the Digital Productiondivision of Sony Pictures Entertainment.


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I'm fond of saying that only artists can see the future,since they're the ones who invent it every day (and itdoesn't matter if they're artists with paints, computers,word processors, or business plans). It's surely true inthe case of the artists and creators who work withFrederator Studios. They're the people who redefine thecartoon past to originate their characters who will literallyestablish what lies ahead in animation.

Our first book collection showcased the limited editionpostcards that honored the filmmakers and their big ideasfrom our first two cartoon incubators, What A Cartoon!and Oh Yeah! Cartoons. Our Hanna-Barbera years werethere in poster form withDexter's Laboratory, Cow &Chicken,Johnny Bravo, and The Powerpuff Girls (dang!we never got one done for Courage the Cowardly Dog).And the first postcards for The Fairly Oddparents,ChalkZone, andMy Life as a Teenage Robot. At the endofOh Yeah! production, five years and 99 cartoons later,we took a break.

But everyone at Frederator was getting requests for more.We were in series production at the time, so instead of purecartoon cards we sent out a set of 24 abstractions(designed by Adams-Morioka in Beverly Hills, California).

A few years later, our latest cartoon lab, Random!Cartoons was up and running, and 42 more creators got


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their moment on cardboard. And, making their postcardbook debut in this second volume are the massive hits(so far!) from that group,Fanboy & Chum Chum and

Adventure Time.

From then on we couldn't help ourselves, and over the last12 years the mail has carried out about one original cardevery two weeks. Almost 300 cards. The future continuesto be well represented, and sometimes, the cards have been

about, well... nothing. No matter, we we were having agood time and the friends who received them did too.At least, that's what they lied to us.

Fred Seibert is the founder of Frederator Studios andChannel Frederator.


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in a

Frederator Studios cartoon, it might be tempting toportray Eric Homan as Fred Seiberts sidekick. In truth,however, hes far more than that, and crucial to all that

Seibert and his chums at Frederator have accomplishedin recent years. Homans work has also greatly impactedmillions of kids and adults who enjoy the Nickelodeon andCartoon Network cartoons that he helped nurture intoreality.

Seibert, of course, started Frederator in the late 1990safter first resuscitating, and then exiting the broadcastworlds most legendary cartoon factory, Hanna-BarberaCartoons. Seibert and his colleagues restored the originalspirit and intent of the place with the What a Cartoon!shorts program, which gave the world a new generation ofcartoons to enjoy, some of which (Dexters Laboratory andThe Powerpuff Girls, to name just two) went on to carveout prominent places of their own in the history ofanimated television.That philosophy was rapidly ported over to Frederator,and revolves around the notion that the art of the shortcartoon is not only something to be fondly celebrated asa reminder of a gentler eraits also a hell of a good way

to find the worlds finest, and funniest, creative talent andthen put them to work making commercially viable (well,


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sometimes anyway) cartoons for children of all ages toenjoy on television.Thus, Frederators Oh Yeah! Cartoons and, now, Random!Cartoons, were born to follow in the footsteps ofWhat aCartoon! Long ensconced at the center of the madness that

followed in the form of shows like The Fairly OddParents,My Life as a Teenage Robot, ChalkZone, Fanboy andChum Chum, Wow! Wow! Wubbzy!, Adventure Time with

Finn and Jake, and many more is Homan, Frederators VPof Development and Creative Affairs. Hes a former Englishteacher, radio reporter, and more importantly, Homan isone of Seiberts co-conspirators in promoting theantiquated notion that talent first, talent unfettered, talentencouraged, and talent unleashed is the best way to notonly have fun making cartoons, but to engage responsibly(or, at least semi-responsibly), occasionally evensuccessfully, in the cartoon business.

I recently sat down with Eric to discuss this philosophyand how, and why, it works at Frederator, even on aradically evolving economic, social, and technologicallandscape. Eric warned me he is not used to interviews,but did concede he knew a few things about the cartoonbusiness, and so, with some coaxing, I got him to impartsome of that wisdom here. He agreed this book was a goodhome for our discussion since, after all, he is particularly

fond of both postcards and cartoons.


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How and why did you get togetherwith Fred Seibert and decide to spend your career dwellingin the world of short cartoons, of all things? I met Fred when we happened to start atHanna-Barbera Studios about the same time in 1992. Ofcourse, he was the president of the studio, and I was acel cleaner in the animation art department, so we wereat complete opposite ends of the employee spectrum. But

thats where I met him, and except for maybe a year anda half break in the late 1990s, Ive been with him for thepast seventeen-plus years.At the point when Warner Bros. bought TurnerEntertainment at the end of 1996, Fred leftHanna-Barbera, became an independent producer, andwent back to working with Nickelodeon [a network Seibertfirst worked with in its early years after helping to pioneerthe branding of its then fledgling sister network, MTV].I stayed with Warner Bros. for about a year and a half,working for their studio stores, managing the productionof Hanna-Barbera collectibles sold in those stores back inthe previous century.But less than two years later, I was back with Fred. Bythat time, Oh Yeah! Cartoons was up and running with acouple of shorts already in production. He had just boughtan independent comic book company [the former Kitchen

Sink Press] and wanted some help developing some ofthose properties for TV and movies, so I went back in the


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summer of 1998. I was glad to be indoctrinated in Fredsdevelopment strategy, the same one we have today. And what is that exactly? Its the same shorts-show master plan Fred uses everyfew years. At Hanna-Barbera, it was called What aCartoon! Its whereDexters Laboratory, The PowerpuffGirls, and a bunch of other shows for Cartoon Network got

their start. Then, around 1997, he went over to Nick andproduced the same kind of program, naming it Oh Yeah!Cartoons. The Fairly OddParents,My Life as a Teenage

Robot, and ChalkZone incubated there over a three yearperiod.There was a bit of a break after that and then, in 2005, wewent into production on whats now calledRandom!Cartoons. We did the same basic thing and its alreadygiven us the seriesFanboy and Chum Chum and

Adventure Time with Finn and Jake. Hopefully there willbe a few others.The philosophy of any of these shorts programs is we canfind great new talents, and we can get them experiencedmaking films by the time any of them have an opportunityto showrun a series. In the case of Butch Hartman, he hadalready made ten Fairly OddParents shorts as part ofOhYeah! by the time Nickelodeon picked it up as a series.

That really proved Butch had what it takes to be a creator,run a production, and get the job done.


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And you have other Butch Hartmans coming out oftheRandom! program right now?

Ill give you two examples. The Nickelodeon showFanboy and Chum Chum was created by Eric Robles whowas in his early 30s when we met him. He had worked atalmost every major studio in a variety of capacities, fromdesign to development, and he was pitching things aroundtown. Fred and I were big believers in Eric whenRandom!

Cartoons came up, and we invited him to pitch. And Ericsnot a guy to miss an opportunity. He showed so muchtalent with his pitch board. Once we gave it the greenlight,he just took off with it.Its a perfect exampleon paper, his idea forFanboy andChum Chum didnt set the world on fire, just the ideaabout two crazy kids who are in love with being kids. Itwas hard to get excited just about the log line. However,after his compelling pitch, and then his execution of theseven-minute short, you saw how funny it was, and howdeveloped the characters were, so we were able to use thatfilm to sell the series. It was easy to believe in Eric and Imglad we got to help him get the show across the finish line,but it was his talent and passion and creativity that madethe whole thing work. In the end, thats what we try todobe a talent-driven studio.The other example is Pendleton Ward. In his case, youcouldnt not fall in love with his student films at Cal Arts,so I encouraged him to pitch forRandom! Cartoons, which


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he did. Because the shorts program was made up of anorder of thirty-nine cartoons, we were allowed to takebigger risks than, say, if the order was for just six. Thatallowed us to give Pen that opportunity without a greatexpectation about what might come out of it. In fact, hispitch was very distinctive, very creative, but it sure didntseem too commercial. But it was so different, we knew wehad to give Pen the chance to make his film. It was spe-cial and we wanted to see what would happen, but didnt

entertain a lot of hopes about whether it might become aseries. But he did a great job with his short, andCartoon Network decided we should put it intoproduction, and thats howAdventure Time with Finn and

Jake came about. So, for you guys, whats the deal on how to balancebusiness with creative freedom? In this economy, I cantimagine you have resources to develop every funny thingthat passes across your desk. Thats true, but keep in mind these are short,independent films to start. Frederator runs the shortsprogram, but its the filmmakers who come in and makethem. Theyre ultimately responsible for all the creativedecisions. The creators will get the networks standardsand practices notes and well give them our two cents;whether or not they act on those suggestions is up to them.So, we give them enough rope to hang themselves creatively.

We are trying to see what they will do with the opportunity.Its really more about finding special filmmakers than their


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particular shows. We are investing in the talent more thanthe projects. We are looking more for hit-makers than hits,if that makes sense.One of the things about doing a large volume of cartoonsis we know up front that were not going to get thirty-nineseries out of them. When we produce thirty-nine shorts, ifwe get four seriesabout ten percentthats a great success.So it pays to have this program up and runningto find

that talent that can make up that ten percent.

And, I should add, just because a short doesnt go to seriesdoesnt mean it wasnt great, or the people who made itwerent great. Yes, the networks trust us to deliver themhits, but even if we get misses from extremely talentedfilmmakers, we know well have an opportunity to tryagain with them later.The other thing to keep in mind is that, with these shorts,development work is done by the filmmakers. Theydevelop it and then pitch it to us. If we like it, we help getit made, and then, once it is made, thats when we reallyget to work with the filmmakers to help them try to selland then develop their property as series. But developingthe property initially as a short is not what were about;thats what the filmmakers do themselves. Its not likewere cartoon creators. We do our best to recognize talentand potential, and people willing to work really hard to

succeed. We are doing that both with our TV and featurefilm properties.


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So, what has changed then in the years betweenOh Yeah! andRandom! in terms of finding new talent andproperties? Im not so sure that finding properties has changedmuch at all. As independent producers, we have to findthem, and then we have to sell them. Finding propertiesis the same just because there are always people out therewith good ideas and great talent. But selling their work

has become more difficult because of the economy andthe nature of changes within the industry. We are luckywe have a first-look deal with Nickelodeon and they havegreat respect for new talent and for what we do. But thatsthe difficulty.As far as talent goes, though, weve always brought in acetalent that has gone on to do terrific things at Nickelodeon,Cartoon Network, and elsewheretalent that enteredthose studios through Freds shorts programs. For example,Seth MacFarlanes first professional film was an early ver-sion of Family Guy back at Hanna-Barbera for What a Car-toon! The original What a Cartoon! program had cartoon-ists including Genndy Tartakovsky (Dexters Laboratory,

Samurai Jack), Butch Hartman (The Fairly OddParents,Danny Phantom, T.U.F.F. Puppy), and Craig McCracken(The Powerpuff Girls,Fosters Home for Imaginary Friends)come in, and at that point, their original shorts were aboutshowcasing them. Im biased, of course, but to me,

Cartoon Network was built on the backs of the work doneby Genndy and Craig and the shows that came out of that


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original shorts program.But the way we find them hasnt changed much. Obviously,when I started development work with Fred, I wasnt yetgoing online to find independent filmmakers. But you stillgo to film festivals and student film nights at animationschools. Plus, of course, we have a wide open door foranybody with an idea for any kind of cartoonthey canalways come in and pitch us. Speaking of websites, what role has the Internetplayed in how you develop, make, or distribute cartoons?I notice a wide range of shorts are available atChannel Frederator and elsewhere across the webhowhas that impacted your traditional approach? Actually, we've met hundreds of animators fromaround the world through our network and blogs. But,even more than helping find a hit, the Internet has helpedus sell a hit. A big reasonAdventure Time became a serieswas because we put the original short online. It was, at thetime, a very different type of cartoon that you didnt seeon television. We put it on YouTube and it was an instantsuccessabout two-hundred-thousand views in the firstweekend alone, up to several million views eventually. Ahuge Internet buzz followed and it became a success. Butthat also coincided with a time in which Cartoon Network

wanted to go, programming wise, in a bit of a differentdirection and this cartoon worked really well with that.


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You mentioned feature films earlier. Frederator, ofcourse, is best known as an independent productioncompany for broadcast. Can you bring us up to speed onthe feature film initiative and where you see that heading?

Weve recently signed a first-look deal with SonyPictures Animation, so Fred and I, along with Kevin Koldeand Carrie Miller, who make up the other half of Frederator,are searching for filmmakers with feature projects to takein, just like were searching for talent in the shorts program.Like with the shorts, we want our films to be very creatordriven, so were now investing in filmmakers we believe in.Were optimistic well have a couple of films in productionshortly, with more to come.My guess is that many of our feature projects will involvefilmmakers weve worked with before in the TV business.There has traditionally been a pretty strict line in animation

between the broadcast people and the feature people. InTV, its not uncommon for artists to be journeymen andgo from studio to studio, and project to project, but not asmuch crossing that great divide between TV and features.But, hopefully, well be presenting a lot of fantastictelevision talent to the feature world.I should also mention were putting together financing anddistribution for a slate of hyper-low budget features, too.Much more niche-oriented, but still creator-driven. Imreally excited about these.


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So whats your advice then for all those cartoon geeksout there, talented but with no direction on how to create astory, pitch it, and pursue their cartoon dreams? In the commercial world? Be passionate about whatyoure creating; though youll ultimately need to pleaseyour audience, dont create just for the sake of selling. Ialso think its vital to learn as much as you can about theanimation process. Clearly, the creators behind most of the

successful cartoons are artists or cartoonists at one level oranother. If you look at your favorite cartoons from the pasttwenty or so years, youll find the creatorsfrom MikeJudge to John Kricfalusi to Genndy Tartakovsky to ButchHartman, or Matt Groening or Seth MacFarlaneall ofthem are cartoonists. I cant think of too many successfulcartoons created by people who couldnt be part of theanimation process.Thats not to say youre automatically discounted if youcant draw. I remember, for ChalkZone, (co-creator) BillBurnett came in to us as a writer. He had a stack of ideasand Fred introduced him to a bunch of directors. Bill wentoff and partnered with maybe five different directors todo a variety of cartoons, and it just so happens the onehe developed with Larry Huber, who is a longtime anima-tor, was ChalkZone, and that one got to the finish line andbecame a series at Nickelodeon. But, even in that case, itwasnt until Larry Huber came on board to develop it as

a cartoonist, and brought that cartoonists mindset, that itmoved to that next level.


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Also, especially for television, focus on strong characters.Audiences want to fall in love with characters. The cool-est idea in the world wont mean much week after weekif your audience doesnt care about your characters. Thismay not be the best analogy, but youd rather hang outdoing nothing with your best friend rather than spend timewith some dullard doing something thatd otherwise beinteresting, right?

Finally, the odds against you selling a show are enormous.If I were out there trying to sell my own show, Id researchhow those who did get their shows made and learnlessons from them. But still, its tough. Only get into it ifyou really enjoy itbut then, I guess thats true of anyfield, right?

Michael Goldman is a longtime entertainment industryjournalist who has interviewed most of the worlds leadingfilmmakers, and covered animation, visual effects,cinematography, editing, and film and broadcast

production and post-production for a number of majorpublications in print and online. Hes a former editor atVariety, the former longtime Senior Editor atMillimeterMagazine, and the author of four books, with another oneon the way. He lives in Los Angeles with his gorgeous wife,

Bari, and two cartoon-obsessed sons, Jake and Nathan.You can keep track of Michaels adventures at his web site,www.hollywood-scribe.com.


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Series 6 Postcards2007-2008


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Series 6.1


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Designed by Lee RubensteinSeries 6.2


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Random! Cartoons logo designed by Michael LapinskiInspired by Darron Moore

Series 6.3


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Channel Frederator De-Lite

Series 6.4


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Designed by Lee RubensteinSeries 6.5


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Series 6.6


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Castlevania: Dracula's CurseConceptual illustration by James Jean

Series 6.7


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Series 6.8


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Illustrated by Eugene MattosSeries 6.9


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George Seibert, 1950Series 6.10


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Series 6.11


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Series 6.12


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Designed by Lee RubensteinCG Fredbot by Magimation

Series 6.13


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Frederator Bluebird

Series 6.14


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Series 6.15


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Series 6.16


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Series 6.17


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Ape Escape Cartoons produced by Kevin Kolde

Series 6.18


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Original Cartoon Inspirations Joe Barbera & Bill HannaPhotography by Jeff Sedlik, 1995

Series 6.19


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Election Day, United States, 2007

Series 6.20


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Series 6.21


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Series 6.22


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Frederator LibertyDesigned by Lee Rubenstein

Series 6.23


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Frederator Valiant

Series 6.24


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Frederator Double Neck SG

Series 6.25


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Series 6.26


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The Meth Minute 39 created by Dan Meth

Series 6.27


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Series 6.28


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Series 6.29


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Series 6.30


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Postalolio directed by Marv NewlandA Frederator Studios Producion

Series 6.31


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Dan Meth & Frederator Studios presentDrinking and Drawing

Series 6.32


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Series 6.33


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California Primary Election Day, 2008

Series 6.34


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Adventure Time T-shirt Time!! with Pen 'n' FredAdventure Time created by Pendleton Ward

Series 6.35


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The Fairly OddGamesThe Fairly OddParents created by Butch Hartman

Series 6.36


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3rd Season Premiere!My Life as a Teenage Robotcreated by Rob Renzetti

Series 6.37


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Election Day, United States, 2008

Series 6.38


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Poster designed & printed by Hatch Show Print


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Series 7 PostcardsRandom! Cartoons

2008-2009


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Solomon Fix created by Doug TenNapel

Series 7.1


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Moobeard the Cow Pirate created by Kyle A. Carrozza

Series 7.2


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Two Witch Sisters created by Niki Yang

Series 7.3


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The Finster Finster Show created by Jeff DeGrandis

Series 7.4


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Adventure Time created by Pendleton Ward

Series 7.5


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Mind the Kittycreated by Anne Walker

Series 7.6


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Ivan the Unbearable created by Andrew Dickman

Series 7.7


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Boneheads created by Polygon Pictures

Series 7.8


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Tiffanycreated by Adam Henry

Series 7.9


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Call Me Bessie! created by Diane Kredensor & Dana Galin

Series 7.10


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Teapotcreated by Greg Eagles

Series 7.11


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Hornswiggle created by Jerry Beck

Series 7.12


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Hero Heights created by Raul Aguirre Jr. and Bill Ho

Series 7.13


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Yaki & Yumicreated by Aliki Theofilopoulos

Series 7.14


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Gary Guitarcreated by Bill Plympton

Series 7.15


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Krunch and the Kidcreated by Adam Henry

Series 7.16


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Bradwurstcreated by Jason Plapp & Angelo di Nallo

Series 7.17


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Dr. Froyd's Funny Farm created by Bill Burnett & Jaime Diaz

Series 7.18


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Bravest Warriors created by Pendleton Ward

Series 7.19


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The Dangerous Duck Brothers created by 'Pat' Ventura

Series 7.20


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Sparkles & Gloom created by Melissa Wolfe & Anne Walker

Series 7.21


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The Infinite Goliath created by Mike Gray & Erik Knutson

Series 7.22


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Kyle + Rosemarycreated by Jun Falkenstein

Series 7.23


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Garlic Boycreated by John R. Dilworth

Series 7.24


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Flavio created by Mike Milo

Series 7.25


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Samsquatch created by Adam Muto

Series 7.26


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Girls on the Go! created by Aliki Theofilopoulos

Series 7.27


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Victorcreated by Niki Yang

Series 7.28


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The Bronk and Bongo Show created by Manny Galn & Alan Goodman

Series 7.29


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Thom Catcreated by Mike Gray

Series 7.30


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Squirly Town created by Doug TenNapel

Series 7.31


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Fanboycreated by Eric Robles

Series 7.32


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Hnadycatcreated by G. Brian Reynolds & Russ Harris

Series 7.33


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Sugarfootcreated by Erik Knutson

Series 7.34


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Dugly Uckling's Treasure Questcreated by Guy Vasilovich

Series 7.35


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The Bronk and Bongo Show created by Manny Galn & Alan Goodman

Series 7.36


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Super John Doe Juniorcreated by Lincoln Peirce

Series 7.37


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6 Monsters created by Alan Goodman & Fred Seibert

Series 7.38


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Ratzafratz created by Jim Wyatt & Karl Toerge

Series 7.39


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Series 8 PostcardsBlack & White

2009-2010


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Fanboy & Chum Chum created by Eric RoblesIllustration by Eric Robles

Series 8.1


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Adventure Time with Finn & Jake created by Pendleton WardIllustration by Phil Rynda

Series 8.2


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Series 8.3


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Illustration inspired by Lorenzo PetrantoniSeries 8.4


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Frederator Films logo designed by Floyd BishopSeries 8.5


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Perry & Alan GoodmanPhotography by Elena Seibert

Series 8.6


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Animated CartoonsBy E.G. Lutz, 1920

Series 8.7


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Series 8.8


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Quotation from Winston ChurchillSeries 8.9


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Series 8.10


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Series 8.11


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Illustration by Stanley RayonSeries 8.12


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Series 8.13


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1951

Series 8.15


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Series 9 PostcardsHistory of Frederator

2010


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Series 9.1


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Oh Yeah! Cartoons created by Fred Seibert

Series 9.2


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The Fairly OddParents created by Butch HartmanAn Oh Yeah! cartoon series

Series 9.3


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ChalkZone created by Bill Burnett & Larry HuberAn Oh Yeah! cartoon series

Series 9.4


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My Life as a Teenage Robotcreated by Rob RenzettiAn Oh Yeah! cartoon series

Series 9.5


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The Nicktoons Film Festivalcreated by Fred SeibertCurated & programmed by Eric Homan & Rita Street

Series 9.6


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Wow! Wow! Wubbzycreated by Bob Boyle

Series 9.7


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Random! Cartoons created by Fred Seibert

Series 9.8


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Series 9.9


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Nite Fite created by Dan MethAMeth Minute 39 cartoon series

Series 9.10


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Ape Escape Cartoons produced by Kevin Kolde

Series 9.11


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Fanboy & Chum Chum created by Eric RoblesARandom! cartoon series

Series 9.12


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Adventure Time created by Pendleton WardARandom! cartoon series

Series 9.13


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Non-series PostcardsWow! Wow! Wubbzy!

2007-2008

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


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Wow! Wow! Wubbzy! created by Bob Boyle

Power Partners Series 2007


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Power Partners Series 2007


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Series 2 2008


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Series 2 2008


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Non-series Postcards

2000-2010


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Frederator moving announcementIllustrated by Eugene Mattos

1997


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Frederator New York announcementPhotography by David Ramage

2000


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Frederator New York announcementPhotography by David Ramage

2000


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Channel Frederator RAW giveawayIllustration by Ben Ross

20007


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Channel Frederator RAW giveawayIllustration by Ben Ross

20007


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Drinking and Drawingcreated by Dan MethLogo designed by Lee Rubenstein

2008


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Drinking and Drawingcreated by Dan MethLogo designed by Lee Rubenstein

2008


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Drinking and Drawingcreated by Dan MethBikini Zombies illustrated & designed by Elliot Cowan

2009


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Channel Frederatorcreated by Fred Seibert

2006


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2006-2008


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2007-2008


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

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