Best of Original Cartoons 1981-2023

The FredFilms
Professional Library
#1 The MLaaTR Sketchbook
#2 Original Cartoon Shorts
#3 Original Cartoon Title Cards
#4 The Complete Frederator Postcards
#5 Wit and Wisdom in The Land of Ooo
#6 Original Cartoon Posters
#7 The Best of Original Cartoons
#8 The Art of Wubbzy
The Best of Original Cartoons

Produced by Fred Seibert 1981-2023
©2023, Fred Seibert All rights reserved.
ChalkZone, The Fairly OddParents, Fanboy & Chum

Chum, My Life as a Teenage Robot, Oh Yeah! Cartoons,
and Random! Cartoons ©2018, Viacom Intl. MTV, MTV:
Music Television, Nickelodeon, and VH-1 are registered
trademarks of Viacom Intl. All rights reserved. Used by
kind permission. Used by kind permission.
Adventure Time, Courage the Cowardly Dog, Cow &

Chicken, Dexter's Laboratory, Johnny Bravo, and The
Powerpuff Girls ©2018, Cartoon Network.
A Warner Media Company. Used by 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.
All rights reserved, including the right to reproduce

this book or portions thereof in any form whatsoever.
6 8 1 0 9 7
6th edition September 2023

The Best of
Original Cartoons
Produced by Fred Seibert
1981-2023
By
Fred Seibert
Edited by
Pancho Nakasheff
The FredFilms
Professional Library
#7
About the author
Fred Seibert is one of the leading

independent animation producers and a
serial media entrepreneur.
He was a co-founder and the first creative director of

MTV, the last president of Hanna-Barbera Cartoons,
and the founder of FredFilms, Frederator Studios
and Next New Networks (acquired by YouTube). His
production hits include shows on Netflix (Castlevania,
Bee and PuppyCat – history’s most backed animation
on Kickstarter), MAX (Adventure Time: Fionna and
Cake), Cartoon Network/MAX (Adventure Time,
Dexter’s Laboratory, The Powerpuff Girls),
Paramount+/Nickelodeon (The Fairly OddParents,
ChalkZone, and My Life as a Teenage Robot), Cartoon
Hangover/YouTube (Bravest Warriors) and Amazon
Prime (Costume Quest). His career began by recording
award winning jazz and blues albums.
Fred was the first investor in Tumblr (acquired by

Yahoo!), The Shorty Awards and MuckRack. He’s
received Emmy Awards, the Lifetime Achievement
Medal from the American Institute of Graphic Arts,
is in the Animation Magazine Hall of Fame, and was
admitted to the Gold Circle of The Emmys in Decem-
ber 2023.
Filmmaking and media are
collaborative arts.
The best work only comes from
the excellence of our colleagues.
This book is dedicated to

the hundreds –thousands–
who've honored us with
their talents and hard work.
You're too numerous
to mention individually but
too important not to
mention at all.
Thank you, sincerely,

Fred Seibert
Introduction
....................................
thoughts and great cheer. It really
helps to have a believer in your cor-
ner.
There would be no animation career
for Fred Seibert without the creators
Once Ted Turner sold Hanna-Bar-
who bring their wonderful cartoon
bera along with the rest of his media
ideas to my colleagues and me. But,
empire my cartoon life might have
while all my co-workers have made
been over. But my longtime MTV
the decades a joy, a few have been
Network colleagues welcomed me
indispensable.
back –with bells on!– and helped
start Frederator. Thank you doesn't
Alan Goodman was, at first, my
begin to cover the faith shown to me
college radio buddy. Then he be-
by Tom Freston, Albie Hecht, Judy
came my indispensable co-worker
McGrath and Herb Scannell.
at MTV Networks. A few years later
we became partners at Fred/Alan in
Eric Homan, Kevin Kolde, Carrie
New York. And then! My brother-in-
Miller, and Fred Pustay helped build
law and father of my beautiful niece
out the (too many?) directions I
and nephew. All the way along we
insisted we try at Frederator. The
did some fantastic, innovative, and
past 22 years would have been very
gorgeous work together.
dull, and way less successful, without
them.
The late Dale Pon showed me how
to make television. Bob Pittman was
Richard Koenigsberg and Marc
the person who told me to make the
Chamlin have both been friends
MTV network identity in animation.
and professionals in my life before,
Thank goodness I agreed.
during and after... everything. Thank
you, gentlemen.
The late Buzz Potamkin had no idea
he was teaching a future cartoon
I can't let this moment go by without
producer when he told me every-
honoring the most important sup-
thing he knew about the animation
port a man can get when venturing
business.
upon nutso, entrepreneurial ventures
(aren't they all?). My wife and life
Scott Sassa plucked me from a life
partner Robin Sloane Seibert and
of media promotion and thought I
sons Joseph and Jack give me the
could save a venerable animation
guiding lights to get through every
studio. He knew more than me.
day. And, not for nothing, Robin
came up with the nickname that be-
Jed Simmons saved me from myself
came Frederator, and she wasn't at all
too many times to mention at Han-
sad when we had to abandon it.
na-Barbera, Turner Broadcasting
and then as my partner at Next New
–Fred
Networks. And always with smart
Introduction
..........................................
I’m a fan. And just like you, I’m a fan of a lot of

different things. When I was a kid, it was cartoons
like Bugs Bunny and The Flintstones. In Junior
High, The Beatles changed my life forever. Later
on, it was blues and jazz. And as a television
professional I eventually looped back to cartoons.
The great thing about fandom is the search for

something and someone to love. It’s how I’ve guid-
ed all my varied professional careers, whether it
was finding musicians to produce their records, or
writers, animators, and YouTube video creators. It’s
been a lifetime of constant delight in discovering a
creative talent to love.
Hopefully, as you page through this “best of ” you’ll

get a sense of some of the breadth of my cartoon
and video fandom. From pre-school and kids right
through to rated-R horror, I've been honored to
work with folks who have a special, unique voice,
a voice that wants to be heard far and wide across
the globe. They create characters that you’ll love or
hate, who’ll make you laugh or cry and then laugh
again. And stories, great stories. Tales that only
these original characters can inhabit.
I joke –but not really– that I’m incapable of

following trends. The result? Occasionally, I’m
lucky enougn to be involved with creating new
trends in music, television networks, and of course,
cartoons.
It’s in cable television, the cartoon business and

streaming video that I really hit my stride. I got
lucky with timing, because as it's said, timing is
everything.
My stumble into cable television coincided with the
innovation by Ted Turner and Gerry Levin that sat-
ellites could carry video better than telephone lines.
A 25 year old radio guy, Bob Pittman, brought this
27 year old music guy into this new media mo-
ment and with a hearty band of other intrepids we
helped change the world.
I got into cartoons at Hanna-Barbera while the

founders Bill Hanna, Joe Barbera and their friends
–who literally invented the greatest comedies ever
made– were still around and could share the secrets
of their creations. Picking the considerable minds
of these creative geniuses, I felt the time was right
to bring back the young independents who wanted
to explode minds with their films.
In streaming, I was hit with the same feeling as the

rest of the world. There was that split second when
we all were itching to take our "TV" everywhere,
and anyone with a video camera and an idea could
be a creator too.
Here's what these virtuosos let me do. I try and be

of help. Nothing more, nothing less. More than
anything, I can be a fan.
Fred still loves you,

Fred Seibert
September 2020
Frederator launch announcement January 1997
Designed and illustrated by Arlen Schumer; color by Patrick Raske
10 BEST OF ORIGINAL CARTOONS

Introduction to the 2018 edition
.............................................
Let me rant for a minute. I think the last twenty
years has proved that there’s no other company like
Frederator. Really, we’re special. Arrogant? Sure.
Of course, being remarkable is all about you.
"Frederator loves you" has been more than just

a 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 stuff
on Nickelodeon and Cartoon Network, or the
still-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 perspective we're
all 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.
Twenty years seems like both a long time and

yet, just the beginning. I can't imagine it ending,
it’s just too much fun making the world smile.
Frederator loves you all, Fred Seibert

FredFilms annual limited edition poster, 2023.
Designed and illustrated by Juan Molinet.
Timeline
.................................
PRODUCED BY FRED SEIBERT 1981-2023 13

Castlevania
..........................................
Executive producer & showrunner: Kevin Kolde
Kevin Kolde is the visionary colleague who

over a decade ago recognized the rich story
material in video games that had been ignored
by filmmakers.
Once the dramatic rights for Castlevania were

secured he recruited master storytellers Warren
Ellis and the artists at Powerhouse Animation
and created a global masterpiece for Netflix.
Promotional poster design & illustration

by Sam Deats, Powerhouse Animation 2017

Castlevania
..........................................
"It is with a somewhat heavy heart that I

report Netflix’s Castlevania is not a show for
the fans. Instead, it is a show for
absolutely everyone."
–Den of Geek! Matthew Byrd Jul 7, 2017
"The Perfect Show For Fans And

First Timers Alike!
"Castlevania for Netflix is probably one of
the best anime in recent years and I cannot
recommend it enough. It’s dark, it’s epic, it’s
fun, and even a tad bit scary at times.
"… It’s already considered the most
bingeable show on the streaming service."
–Now Loading, July 2017
"Castlevania not only brings the fan-favorite

characters of the long-running Konami
series to life, it fleshes them out by embroil-
ing them in a conflict over belief, blood, and
magic, all set in 15th century Wallachia."
–Collider, Dave Trumbore July 8, 2017
"...the series’ creators have gone above and

beyond to wring a resonant story from a
game..."
–AV Club, Matt Gerardi July 10, 2017
Frederator Postcard Series 40.2 & 40.3 2017

Castlevania
.........................................
The richly orchestral scoring by Trevor Morris

for Castlevania is one of the series highlights.
In addition to streaming and CDs its center-
piece is the sumptuous double LP vinyl release.
Along with the Viz DVD collectors across the
world have all the reasons to rejoice.
“…this is pure atmospheric delight... a score

that’s both barbed wire and an inspiring raised
flag, both scary and romantic and, above all,
simply great great fun.”
–Mihnea Manduteanu, Soundtrack Dreams
Vinyl soundtrack, Lakeshore Records 2017

Blueray DVD, Viz Media 2018

Castlevania
..........................................
"We bloody love the Castlevania anime that's

on Netflix, and we're dying to sink our teeth
into more."
–Digital Spy, Joe Anderton June 25, 2018
"Season 2, the best video game adaptation ever."

–IGN.com, Jesse Schedeen, October 26, 2018
Netflix 2nd season poster August 30, 2018

Castlevania
..........................................
The 2020 Castlevania Season 3

accomplished the rare feat of having
even more viewership and critical
acclaim than the fantastically well
reviewed first 12 episodes. A Top 10
show in 40 Netflix global territories!
Frederator Postcard Series 40.6 & 40.7 2020

Castlevania: Nocture
..........................................
Netflix dropped the next chapter in

the Castlevania universe at the end of
September 2023.
Wait. What? The Castlevania universe?!
From the first time Kevin talked about

adapting the Castlevania video games,
he knew that the 30 years of the
Belmont family saga could lead to
several storylines for distinct series.
After Warren Ellis and Powerhouse
Animation helped spur the success of
the original show, Netflix asked Kevin,
"What's next?"
With head writer Clive Bradley and

Powerhouse on board, and of course,
the next generation of Belmonts, we
are all finding out exactly what indeed
is next.
Netflix Castlevania: Nocture posters 2023

Adventure Time
..........................................
Created by Pendleton Ward
"Algebraic!"
Two Emmy Awards and

44 other award nominations.
"Nobody really expected a cartoon featuring

post-apocalyptic candy kingdoms and
Korean-speaking unicorns to become a
children’s-television success story. Nor
did anybody expect that same show to be
a success story with just about every other
demographic out there, either."
–Nolan Feeney, Time, March 29, 2013
"No matter how silly it gets ... Adventure

Time is teeming with thoughtful nuances,
bold innuendo and bonafide genre-based
storytelling. The blend of advanced subtext, baf-
flingly surreal tangents and nonsensical asides
makes it hard to pin down the show’s precise
appeal — but you can’t dispute the
outlandish comic timing, lovable characters
and insanely catchy songs, all of which help
explain the devoted fan base."
–Eric Kohn, IndieWire 2013
"Adventure Time is one of the most philosoph-

ically risky and, often, emotionally affecting
shows on TV. It’s beautiful and funny and stupid
and smart, in about equal parts, as well as will-
ing to explore uneasy existential questions, like
what it means to go on when the story you’re in
has ended.
–Emily Nussbaum, The New Yorker 2014
Poster & DVD cover 2011

Adventure Time
..........................................
"Totally math!"
Nothing would ever be the same. In pop music

it was Elvis, The Beatles, Nirvana. In cartoons
Mickey Mouse, Looney Tunes, Ren & Stimpy.
And Adventure Time.
I've often said that I'm not all that good at

following trends. Since my co-worker and I
are completely focused on finding original voic-
es in cartoons, the result is that we often antici-
pate them.
Once the first "Adventure Time" short was

finished we all knew we had something special.
Pendleton Ward's individual synthesis of his

love of video games, filmmaking and web com-
ics came through loud and clear and we couldn't
wait to get started on a series. Everyone who saw
the cartoon agreed, but it took five long years
before I could convince Cartoon Network to
partner with us to put the show in production.
Pen's unique approach to his characters, writing,

and animation design was obvious even in his
storyboard pitch for the original short cartoon.
Storyboard panels #3 & 66,

"Adventure Time" short 2006

Adventure Time
..........................................
"Rhombus!"
We were surprised –and extremely pleased–

when we saw that the artistic choice that Pen
made for the first AT short's titles in 2006. They
became the inspiration for every title card in the
series for the next nine seasons.
Title cards, "Adventure Time" short 2006
Adventure Time series

title cards, art direction
by Nick Jennings 2010-2012
Adventure Time
..........................................
Frederator was trying hard to get the series

produced, so in the meantime Pen's limited
edition T-shirts gave us more hints of his
unlimited imagination.
Cafepress: Limited edition T-shirts 2007
Frederator
Postcard Series 6.35
Adventure Time
..........................................
"Mathematical!"
It's possible that Adventure Time was the

first show that got on television because of
the overwhelming internet fandom.
Pen's original film was part of my Nickelode-

on series incubator Random! Cartoons. Long
before it aired its reputation had spread in the
Hollywood animation community and it was
nominated for "Best Short" at the 2007 Annie
Awards. It was early days in streaming video –
most of the world didn't even know what it was–
so Nick gave us permission to post it online to
spread the word. Soon after, their parent com-
pany –Viacom– started suing YouTube and the
video got a take down. And the next day (!) it
got bootlegged back and started getting millions
of views.
YouTube fandom didn't convince Nickelodeon,

but Cartoon Network couldn't resist.
Which begat...
There was fan art for all of our successful shows,

but it took a OG internet fan like Pen to give us
a real clue as to how important those admirers
would be to our futures. By the time the series
hit CN we already had hundreds of submissions.
Pitch bible page

Fan art, Deviantart, Flickr, Tumblr 2006

Adventure Time
..........................................
" What time is it?!"
Four years after the first short was completed,

the Adventure Time series goes into production
at Cartoon Network. ("... with Finn and Jake"
was a brief legal necessity before the barristers
saw the light).
Launch poster by Cartoon Network 2010

Adventure Time
..........................................
"Let's rock and roll!"
Looking around for random artwork at our se-

ries productions always uncovers little wonders.
"How to Draw Adventure Time!" was the
handbook for the production artists created
by lead designer Phil Rynda. Pen's story notes
for 'City of Thieves' (original title: 'Way of the
Finn') gives us some insight on what the teams
needed to make a cartoon sequence in this sui
generis animated film.
Frederator Postcard Series 8.2 2010

Adventure Time
Story Notes
February 3, 2009

Adventure Time
..........................................
"Rhombus!"
Adventure Time's creative breakthroughs inspired

innovation across its diaspora. None more than
at WeLoveFine.com, where their in-house art
team created hundreds of new designs, one T for
each and every 11 minute episode.
WeLoveFine.com T-shirts 2010-2017
AT crew T-shirt brainstorm 2010

Adventure Time
..........................................
"That's...Bizonkers."
The large haul of merchandise that followed

Adventure Time were often "toys" that appealed
as much –or more– to adult fans of the series.
Jazwares: 10" Super Posable Finn
Adventure Time
Storyboard panel

Adventure Time
..........................................
"Beep boop boom boooooop beep boop!"
AT energized artists of all stripes –including

the in-house team at Cartoon Network– to
interpret the characters in thousands of ways.
Complete Season DVDs 2012-2017

Adventure Time
..........................................
"Oh my glob!"
Cartoon Network Brands Train in Taiwan
Cartoon Network has teamed up with Taiwan

High Speed Rail Corporation to launch the
Cartoon Express, a new passenger experience
on the island’s train network.
Cartoon Network mascots introduced

travellers to the train’s new features, while
announcements were made using the voice
of Jake the dog from Adventure Time.
The branded train will run along the west

coast of Taiwan, from Taipei to the southern
city of Kaohsiung. It is estimated that several
hundred thousand passengers will board the
Cartoon Express during the campaign period.
–Licensing Book July 24, 2013
Taiwan bullet train cars 2013

Adventure Time
..........................................
" Vampire kick!"
Adventure Time motivated people across the

globe.
Searching for any interesting AT things we may

have missed is a constantly entertaining and
surprising pursuit.
Lindt Chocolates put together one of the best

charity Easter Egg Hunts in the world at
London's Covent Garden in 2013 and, lucky
for us, included Finn and Jake. All proceeds went
to Action for Children, a UK children's charity
helping vulnerable and neglected
young people.
Oh yeah! There were the three years of giant

balloons at the Macy's Thanksgiving Day
Parade in New York. Wow!
The Big Egg Hunt, Covent Garden
London UK 2013
Macy's Day Parade
New York City, USA
2013-2015

Adventure Time
..........................................
"Elemental!"
We couldn't let Adventure Time go without a

couple of pages of beautiful, cross culturally
inspired art from some of our delightful fans.
Fan art, DeviantArt.com 2010-2018
(Facing page)
larienne
(Left)
zachsmithson

Adventure Time
..........................................
"My hat IS AWESOME!"
As you can well see, the Adventure Time

fan art kept moving to a level of craft and
sophistication of them previously unseen
for a mere "kids" cartoon.
Fan art, DeviantArt.com 2010-2018
(Facing page)
pikadiana
(Left, clockwise from

top right)
techgnotic,
mikeazevedo,
thelivingshadow,
semajz.

Adventure Time: Fionna and Cake
..........................................
Characters created by Natasha Allegri
Executive Producer/Showrunner: Adam Muto
Starting as a tossed off web comic by Natasha

Allegri in the summer of 2010, Fionna and Cake
starred in some massively popular episodes in-
cluded in the the original Adventure Time series
and then spawned merch, costumes, cosplay and
comics.
Finally, a woman had the chance to be the hero

of her favorite show.
It wasn't uncommon to find gender reversed fan

fiction in aughts. But of course, Natasha did her
fan fic with art that was perfectly on point. We
put it on our Tumblr and the fandom went nuts.
In August 2023, MAX dropped a full blown, 10

episode Fionna and Cake cartoon series, led by
the stellar AT creative director Adam Muto.
Promotional poster (next page) by Benjamin Anders
Web comic by Natasha Allegri, August 2010
KaBoom! comics by Natasha Allergri
Cosplay photo by Amit Muntasir

The Fairly OddParents
..........................................
Created by Butch Hartman
Two Emmy Awards, three Annie Awards, 13

other award winners, and 48 nominations.
How many series last even two seasons? How

about 20 years?! Butch Hartman is one of the
rare talents who can pull it off.
"The Fairy Godparents" (the original title) was

the last cartoon made for the first season of Oh
Yeah! Cartoons and became my second series
on Nickelodeon. Short sighted business consid-
erations at Nick initially put the show's future
in doubt, but the stellar ratings powered it to be
one of the longest lived productions in anima-
tion history.
Frederator Postcard Series 1 1998
Butch Hartman's original presentation board

now hangs in the Nickelodeon Animation
lobby in Burbank, California.

..........................................
Oh Yeah!'s success with the original OddParents

short spun off 10 7-minute cartoons before the
full series pick up in 2001. Which has lasted for
almost two decades.
Frederator Postcard Series 2 & 3 1999-2000

..........................................
Once a short has a series order, the hand

crafted care gets a working out when dozens of
other artists and writers get involved. Bob Boyle,
FOPs art director and producer, put together
a style guide to explain the "how to" of Butch's
drawing style. I thought, in turn, some pages
would make fun limited edition postcards for
the Friends of Frederator.
Frederator Postcard Series 5 2004-5
Storyboard panels for The Fairly OddParents.

..........................................
"Icky Vicky," Timmy's evil babysitter, was

one of the first stars in the FOP universe
and exhibited all the distinctive touches of
Butch's design styling.
The Fairly OddParents creator Butch Hartman can pitch a

comedy storyboard better than almost
anyone in the cartoon business.

..........................................
From the dawn of cartoons almost 100 years

ago, title cards were a given. They got more
creative throughout the theatrical years, but by
the 1980s had somehow disappeared completely.
That made us sad.
Therefore, one of the only "givens" in all of my

productions has been to revive the tradition.
All of the creators take that comedy institution
seriously, and Butch Hartman made sure all of
his were splendid.
Title cards 2001-2018

..........................................
Promotional posters 2009

Designed by Ernie Gilbert

..........................................
FOP live action TV movies 2011-2014

Bravest Warriors
..........................................
Developed by Breehn Burns,
Will McRobb & Chris Viscardi
Best Web Show, Shorty Awards 2013.
"[Bravest Warriors] is one of the best things,

animated or live action, currently going in
the variable, many portaled medium I will
call television: full of beauty and mystery and
goofball weirdness, peopled (if that's the
word) with small creatures like Impossibear,
Jelly Kid and Catbug, a dimension-traveling
blue cat with ladybug wings and the voice
of a child (an actual child, Sam Lavagnino);
subject to fits of unpredictable metaphor
and simile ('It's like trying to use the presi-
dent's mouth to make out with God's middle
name'); and a host of strange adventures, not
the least strange of which are set within the
spiritual kingdom of love."
–Robert Lloyd, Los Angeles Times 2014
Frederator Postcard Series 7.19 2008-2009


Bravest Warriors
..........................................
Pen Ward returned to the Random! Cartoons

pitch room with "Bravest Warriors," his char-
acteristically skewed take on four wonderful
teenager-ish space adventurers left to try and
not mess up the galaxy as much as possible.
Frederator produced the short, then Adventure

Time changed the world, and by the time we
could think about a BW series, Pen was com-
pletely ensconced in AT at CN. He suggested his
friend Breehn Burns to develop a full series. We
heartily agreed, and the team of Will McRobb &
Chris Viscardi joined up.
And another hit show is born.


Bravest Warriors
..........................................
One of the great benefits for a production on

YouTube is the oceans of viewership data that's
available at the click of a mouse. In traditional
TV we're lucky to even get basic ratings, and at
Netflix and Amazon you get zip.
On September 18, 2013, our intrepid research

team ran the numbers on the first season of
Bravest and the results were stunning:
13,537,384 unique visitors. That's over 13
million individuals across the world who
watched our show. And thanks to Elvis we
had a special way of showing our thanks.
Bravest Warriors Poster 2013
Elvis Presley
vinyl record album
RCA Victor
1959
Bravest Warriors
..........................................
BOOM! Studios has been a perfect comics

partner. They'd been the Adventure Time comics
publisher and understood modern comics like
almost no one else.
36 issues of Bravest Warriors comics were pub-

lished, enriched by the creative teams that editor
Shannon Watters brought to the party. Like Joey
Comeau, Ryan Pequin, Mike Holmes, Tyson
Hesse, Kate Leth... the list goes on and on and
on. And if we could print all the cover variants
they would fill their own volume.
Boom! Studios comics 2012-2015

Illustration #1 by Tyson Hesse
Covers and variants for

Bravest Warriors
comics

Catbug
..........................................
Created by Breehn Burns
The improbable breakout character from

Bravest Warriors wasn't part of Pen Ward's
original short in 2006, springing from the
expansive imagination of showrunner
Breehn Burns.
His popularity undeniable, Catbug then

became the marquee series of hit titles from
my Frederator Books ebook publishing
company in 2013, and a leading light in
the BW comics series from Boom! Studios.
Unpublished poster 2013

Design and illustration by Frank Olinsky
Bravest Warriors #25 2014

(left)
Bravest Warriors
2014 Annual
Catbug
..........................................
Catbug was such a viral character that the

merchandise outsold almost everything in
the Bravest Warriors universe. It was all fun
and beautiful, but 3A Fans made some of the
most gorgeous stuff out there.
1/6th Scale Collectible Figure

3A Fans 2013

Channel Frederator
..........................................
" The World's Original Cartoon Podcast"
Channel Frederator debuts as the #1 podcast in

the iTunes' Arts and Entertainment directory.
NEW YORK, Nov. 2,2005 /PRNewswire/ --

Frederator Studios founder Fred Seibert launch-
es Channel Frederator, the world's first cartoon
video podcast created expressly for distribution
of world-class content on portable video devices
such as the Apple iPod and the Sony PlayStation
Portable (PSP). Released weekly, the episodes
will contain several short form original and
vintage cartoons submitted by producers from
around the world, packaged into 10 to 15 minute
episodes by the Channel Frederator program-
ming team.
.....
In 2005 I was inspired by Channel101.com to
become the innovative force bringing high quality
animation online.
Eric Homan, Melissa Wolfe, Mike Glenn and

Carrie Miller would program. Former Frederator
intern and future Tumblr founder, 19 year old
David Karp was perfect to build it out. After a
couple of hours of argument as to whether the
"old school" architecture or portable devices were
the way to go, he went off with our logo and a few
shorts from our friends. David named, designed,
wrote, edited and engineered "Channel Frederator:
The World's Original Cartoon Podcast." He added
a tag line –"Frederator loves you"– and we posted
to iTunes. Coinciding with the announcement of a
video enabled iPod (wow!) we had 1 million down-
loads in the first 30 days.
The future of Frederator –and all streaming
animation– was in gear.
Channel logo by Annie Chiu & David Karp 2005

Video iPod by Apple October 12, 2005
The original Apple Video iPod [actual size] 2005

Channel Frederator
..........................................
" The World's Original Cartoon Podcast"
Inspired by the limited postcard series that

Frederator began distributing in 1998,
Channel Frederator's founding developer,
David Karp, thought to use customized
versions as the opening title cards for each
episode for the next several years.
Title cards by
Annie Chiu, Fred Seibert and Lee Rubenstein
2005-2006
David Karp conceived the original

Channel Frederator in 2005.

Title card,
Episode #1
Channel Frederator Awards
..........................................
Towards the end of the first full year that

Channel Frederator was live it occurred to us
that any TV channel worth anything had an
awards show. We might have been on the air
15 minutes a week, but we were a TV channel,
dammit!
Well, I wanted it to be a happy party

celebrating the creative cartoon industry as
much as a boring awards show. We'd give
out the awards while the festivities continued,
taping the handover of the "Freddie" to the
lucky winners and run the video on the channel.
All hands were on deck. Carrie Miller, David
Karp and Fred Seibert flew to LA from the New
York office. Eric Homan, Kevin Kolde and
Melissa Wolfe at our Burbank office set things
up at CineSpace/LA.
Would anyone show up?
Did they ever! The lines were out the door with
a several hour wait, coming from all over, even
flying in from Europe, Australia, and the East
Coast, our viewing doubled. We were a hit!
Catalog cover and poster: Illustration by Frank Rocco

Design by AdamsMorioka 2007
The Channel Frederator

fans lined up for hours on
Hollywood Boulevard.
Channel Frederator Awards
..........................................
In anticipation of the 2nd CFAs, artist

Jeaux Janovsky illustrated the 2007
awards winners for our blog.
Blog illustrations
by Jeaux Janovsky 2008
Jessica Borutski,
now an animation industry
mainstay, holds her coveted
Freddie statue for
Best Flash Cartoon.
2007
Channel Frederator Network
..........................................
YouTube
My mission has always been about the

support of talent, and Channel Frederator's
podcast was designed to showcase a greater
array of filmmakers than our production studio
alone could support. My startup, Next New
Networks, invented the multi-channel network
to support creator's channels, and in 2013
Frederator started our network to be hyper
focused on only cartoons and animation
culture adjacent (artists, comic books, video
games) channels. Our team felt that helping ani-
mators grow their channels was the best
path to sustained creative autonomy.
By 2014 –already at 500 channels and 45

million monthly views across the world–
we punned "The Declaration of Cartoon
Independents."
Postcard Series 24.1 & 24.10 2013-2014
The
Channel
Frederator
Network logo
Illustration by
Eugene Mattos
1997
Design by Jen Dean
2013

Channel Frederator Network
..........................................
YouTube
In 2016, The Channel Frederator Network had

grown steadily to over 500 million monthly
views and 2500 channels. We were particularly
proud of giving animators the tools and skills
they needed to become as large as their ambi-
tions allowed.
Our confidence in the network's prolonged

growth over the first two years let us shout out
as the world's largest animation network.
And finally, in 2017 we reached the milestone of

1 billion monthly views ("1 billion of anything
is good!" I often say) and 10 billion views in
throughout the year. By the middle of 2018 each
month was almost at 3 billion.
Postcard Series 35.2 2016

Frederator
Postcard Series 43.1
2018

Random! Cartoons
..........................................
Created by Fred Seibert
Annie Award Nominee, "Adventure Time,"

2007.
My third big idea cartoon incubator started life

as the fourth season of Oh Yeah! Cartoons, but
the Nickelodeon lawyers needed a new name
for some reason, and a smart Nick executive
suggested Random! Cartoons. The 39 shorts
introduced us to a lot of the new talent Freder-
ator works with to this day, and led to three hit
series: Eric Robles' Fanboy and Chum Chum,
and Pendleton Ward's Adventure Time and
Bravest Warriors.
Crew wrap party poster by

Hatch Show Print, Nashville 2006
Before it was called

Random! Cartoons,
this production
was known as the
4th season of
Oh Yeah! Cartoons.

Random! Cartoons
..........................................
New talent, new technology, cartoons were

changing in the 21st century.
Five years after Oh Yeah! Cartoons, 10 after

What A Cartoon!, I started up our third
big idea animation incubator, with Eric Homan
and Kevin Kolde leading the talent search.
One of the biggest changes was the inclusion

of more women and POC as creators than ever
before. They were the harbinger of a new
golden age of animation.
Frederator Postcards Series 6 2005

Random! logo designed by Michael Lapinski
Inspired by Darron Moore

Random! Cartoons
..........................................
By 2005, cartoons had already entered a

new era, with talented creators from across
the world no longer trying to recreate the
cartoons of their youth, and bringing in
artistic influences from different cultures
and the explosion of video games.
Texan Pendleton Ward was one month out of

CalArts when he pitched Frederator "Adventure
Time" and "Bravest Warriors" for Random! Car-
toons. Both, of course, have gone on to become
innovative hit series produced by Frederator
Studios.
Korean native Niki Yang came to the United

States to work in cartoons like Family Guy and
Gravity Falls. And not for nothing, she's the
voice of Pen Ward's Adventure Time characters
Lady Rainicorn and BMO.
Title sequences 2006

Two Witch Sisters by Niki Yang
Bravest Warriors by Pendleton Ward

Random! Cartoons
..........................................
Of course the Frederator staple, cartoon title

cards, were part of each of the Random!
Cartoons.
G. Brian Reynolds and Russ Brown started

Perennial Pictures in Indianapolis in 1979,
producing animated website logos, television
commercials, television specials and limited
series. "Handycat" is their second short for
Fred Seibert, after "O Ratz" at What A Cartoon!
Adam Muto is an Emmy award winning

artist/writer/director, originally hailing from
Seattle, Washington. At the same time he was
creating "Samsquatch," his first professional
short, Adam was Pen Ward's sole companion
in making the original "Adventure Time" short.
He went on to be the AT series creative director
and, from 2015, the showrunner and
executive producer.

Handycat by G. Brian Reynolds & Russ Harris
Samsquatch by Adam Muto

Random! Cartoons
..........................................
Jerry Beck is the very same, unique cartoon

historian we all know and love. He originally
trained as an animation artist at New York's
School of Visual Arts (aka SVA), and he just
couldn't resist creating "Hornswiggle" for
Random! Cartoons.
Indie animation legend Bill Plympton

agreed to make a commercial kids cartoon
for Frederator and turned in a fantastic
romp, "Gary Guitar."

Hornswiggle by Jerry Beck
Gary Guitar by Bill Plympton

Random! Cartoons
..........................................
Doug TenNapel decided to contrast the 3D,

computer generated cartoon images in films
with hand drawn illustrations for the titles of
"Solomon Fix."
Polygon Pictures, Tokyo takes pride in produc-

ing a wide variety of original stories and visual
styles, as well as showcasing the work of some of
Japan’s top artists. “Boneheads” was directed by
award-winning director, Hiroshi Chida.

Solomon Fix by Doug TenNapel
Bonehead by Polygon Pictures

Cartoon Conspiracy
..........................................
Created by Matt Gielen
Everyone loves a good conspiracy, yes?

As long as it's fictional.
By the end of YouTube's first half life in

2015 the platform's success had made
potential hits more complex to figure out.
Frederator Digital's first foray into a new
series –Cartoon Conspiracy– which has
been an evergreen that posits intrigue
around everything from Rick and Morty
and One Punch Man to Gravity Falls and
Adventure Time.
Channel Frederator's
YouTube thumbnail frames 2014-2018

Bee and PuppyCat
..........................................
Created by Natasha Allegri
Frederator had been trying to bring out

cartoons for women –teens and young adults–
for our entire existence, but were stymied by
the conventional wisdom that "teenage girls
don't watch cartoons." We countered the net-
works with "of course, most of those cartoons
were created by men," but alas, to no avail.
Finally, with our own channel, Cartoon Hang-

over, we could literally put our money where our
mouth was and created several shorts created by
women with something to say. The huge success
of "Rocket Dog," "Blackford Manor," "Dr. Lolly-
pop," "Welcome to Doozy," and "The Summon-
ing" bolstered our confidence that we weren't
nuts.
But none more so than Natasha Allegri's

"Bee and PuppyCat," championed by
co-workers Carrie Miller and Eric Homan.
"Bee and PuppyCat" was so big –that is, longer

than the six minutes to which we usually limited
our cartoons– that we didn't want to miss one
frame. Our very first short as a two parter.
Frederator Postcard Series 20.4 & 5 2013
A storyboard frame from Natasha's original

PuppyCat pitch.

Bee and PuppyCat
..........................................
2015 Nominee: Gotham Independent Film

Awards, Breakthrough Series/Short Form &
Streamy Awards, Best Animated Series
"Bee & PuppyCat, the Rare Cartoon About an

Adult Woman."
–Liz Ohanesian, LA Weekly December 1, 2014
"Bee and Puppycat Is Just As Cute And Quirky

As It Sounds. Just Go With It."
–Brooke Jaffe, The Mary Sue July 12, 2013
"Do you have a void that can only be filled with

some sweet animation that draws from ‘90s
slackerdom, ‘80s video games, Japanese anime,
and an overall sense of abundant joy?
–Rob Dean, AV Club November 7, 2014
"If we were to put things in literary terms, Bee

and PuppyCat would be a shining example of
'new adult fiction.' It's able to discuss issues that
are exclusive to adults while appearing very dif-
ferent from children's animation."
– Henry Kathman, YouTube February 10, 2017
"It. Is. Awesome!"

–Pixie Blossom, YouTube November 19, 2014
Poster illustration by Charis Jackson Barrios

Design by Ambar Del Moral 2014

Bee and PuppyCat
..........................................
Success! The "Bee and PuppyCat" shorts had

millions of fans across the world. Now what?
I had bootstrapped Frederator and the well had

run dry. Our most loyal partners –the networks
and major studios– weren't interested in a car-
toon with a twenty something young woman in
the lead with her –"is it a dog? a cat?"– sidekick
that communicated in some electronic language.
But, our audience was in love more than rivet-
ed and they wanted more.
Our solution for more PuppyCat? Kickstarter!

Where audiences make the decisions, not the
media gatekeepers.
"I will follow this series to the end of the earth.

when everything else is gone. I will be there. the
earth will decay one day yet my love for these
goofballs will stay strong."
"I love the show so much, I rewatch it whenev-

er I feel stressed. I really want a second season!"
"The best gift ever on the internet, can't wait

for more."
The results? 10 years after the October 2013

campaign, Bee and PuppyCat is the second
most backed animation Kickstarter in history.
18,000 fans honored the film with almost

$1,000,000 to see more adventure and foibles of
Bee and her crew.

Bee and PuppyCat
..........................................
From the Kickstarter reward DVD:
Thank you for funding Bee and PuppyCat.

This cover is only for you, and the people
you choose to show it to.
Thanks again!
–Nat
All 18,000 Bee and PuppyCat fans who

contributed to the Kickstarter donated for the
love of Bee. But the special "rewards" sure
helped a number of them make the decision.
From $15 (a "digital club member") up to
$10,000 (really) folks got an early taste of
what the wider world would eventually
see of the show.
Kickstarter rewards:
Postcards
Blue-ray DVD
Membership Card
Sticker set
2014

Bee and PuppyCat
..........................................
Bee and PuppyCat didn't only motivate

cosplayers and fan artists, toy and apparel
companies wanted in on the action too.
Squishables offered to embroider Natasha's

signature into their PuppyCat plush exclusively
for Kickstarter backers. And We Love Fine
decided to go beyond their traditional T-shirt
lines and profitably experiment with fashion
accessories like totes and wallets.
Kickstarter limited edition Squishable 2014

WeLoveFine.com wallet & tote 2014

Bee and PuppyCat
..........................................
Bee and PuppyCat wasn't on a traditional

television network, but the show still sparked
swag of all sorts that the fans coveted.
Cloisonné pin set, StashRiot.com 2014

Bee and PuppyCat
..........................................
Frederator Postcard Series 20.4 & 5 2013
Frederator Postcard
Series 34.3 2016

Bee and PuppyCat
..........................................
Natasha started in web comics, then hit a

home run with creation of "Fionna and Cake"
–the Adventure Time gender reversal– so
BOOM! Studios asked her to do a F&C comic
series. Another winner! No surprise, BOOM!
jumped at a B&C series with 11 issues and 42
cover variants.
Boom! Studios comics 2014-2015
Illustration #1 by Natasha Allegri

Bee and PuppyCat
..........................................
We could fill this entire book with the fan art

from thousands of artists have been motivated
to interpret Natasha Allegri's characters
in their own styles.
Bee and Deckard by Jimmy Martinez (right)
(clockwise from top left)

Fan art by
ladyryann.deviantart,
semajz.deviantart, and
equifox.deviantart

Bee and PuppyCat
..........................................
Did I say how well cosplayers, artists and

photographers took to Bee and PuppyCat?
Cosplay and fan art 2014-2018
Fan photography:
Left, top to bottom:
1-800-you-wish,
alfonsina-p,
carmelvardi
Opposite page:
(top) CYuuka
(bottom) @hikkinon
Bee and PuppyCat: Lazy in Space
..........................................
The first Bee and PuppyCat series ran across the

world on YouTube in 10 episodes running a
little over an hour. A brand new series Lazy
in Space, premiered almost a decade later on
Netflix. It was a long journey.
Natasha had longer stories to tell and she quick-

ly rounded up a team to help. As the scripts
started taking shape we created dropped
Cartoon Hangover Select, a small streaming
service affiliated with the now defunct VRV. As
production commenced it was clear that VRV
and CHS weren't going the distance, and we cir-
cled back to Netflix, which had originally shown
interest in the original episodes.
Together, we agreed to a 16 episode run of half

hours (the first three were a recap of Series 1,
to help newbies catch up), which as you might
imagine, took a while to complete with the high
quality Natasha's work demanded.
September 2022 came and the entire globe

tuned in for hours of their new favorite show.
Global promotional posters by Netflix 2022

Bee and PuppyCat: Lazy in Space
..........................................
Finally!
Bee and PuppyCat fans –not to mention us–

have been clamoring for an official soundtrack
release.
Electronic musician Baths –aka Will Wiesen-

feld aka Geotic– was Natasha's perfect pick for
her series' soundtrack composer. Drowned in
Sound, the UK web magazine, describes his "use
of 'unorthodox' sounds layered in and around
the electronics, in particular 'clicking pens, vocal
samples, rustling blankets and scissor snaps.'"
Ideal!
Who could resist tracks like "I Got Fired Today,"

"Meeting Pretty Patrick," or "Planet Toilet 2?"
My only gripe? No vinyl!

Milan Records' digital album covers 2022

Too Cool! Cartoons
..........................................
Short cartoons have been the lifeblood of

animation for almost 100 years, and the talent
that creates them have been my productions'
vital spark for over two decades.
The 5th set of my shorts incubators started

in 2012 for our new Cartoon Hangover
channel, with the 10 cartoons getting more
than 20 million views so far.
Part of YouTube's "Original Channel Initiative"

Frederator Studios worked with 10 new creators
far flung from Australia to the UK and Sweden.
Several are being developed further –our largest
group to date– with Bee and PuppyCat already
on its second series.
Not for nothing, this round of films had our

largest –and overdue!– percentage of women
creators.
Creators' poster 2018

Too Cool! Cartoons
..........................................
The creators for Too Cool! came from across

the world –thank you, free video conferencing–
spanning Australia to Sweden, with Burbank
based Frederator Studios right in the middle.
Studio heads Eric Homan and Kevin Kolde

had some early mornings and late nights for
production confabs, but the audience's global
smiles –over 20 million of them– were more
than worth the sleep loss.

Manly
..........................................
Created by Jesse + Justin Moynihan
"Manly" was one of the Too Cool! Cartoons

incubator. Jesse Moynihan was a lead story artist
on Adventure Time.
Alexandre Morneau-Palardy This cartoon

absolutely needs a follow up! It is feminist, deep, weird
and awesome!
Mariana Bandarra please let this become a show, I

NEED THIS SHOW. THE PLANET NEEDS IT!
mattricks21 "All planets are alive" That single line sold

me, I feel like this deserves more episodes, even if it
was just for that single line.
David Dale This is actually quite deep, and they deliv-

ered a message wrapped in unique art, and randomness
with a bit of gore and managed to mix a sort of heavy
- light feel to the animation as a whole. really good job
there.
Also does a good job mixing the unquestioning and
obedient attitude with one that asks "why?" and looks
for the higher road.
GumCuzzler I am totally captivated by this. To go

into detail about this piece of art will do no justice to
the viewers. CartoonHangover and the creators of this
show have something incredible going on here. Moar of
this!!!!!! I LURV it!!!!
Motoko Hammond WOW just simply... wow, this felt

kinda daydreamish, kinda like a mushroom trip but
without the danger or illegal substance, I want MORE
O.O

Costume Quest
..........................................
Amazon Prime
Costume Quest began life as a video game

series from our friends Double Fine Produc-
tions and the world originally created by Tasha
Sounart; it soon became a graphic novel by
Zac Gorman. Frederator Studios got the idea it
could be a great animated series for kids.
Amazon Prime soon agreed.
Video game & graphic novel covers 2013-2014

Costume Quest
..........................................
Amazon Prime
Costume Quest might be a kids show (see? real

kid voice actors!) but that's not going to stop it
from having super cool monsters.
Season 1 promotional poster
Storyboard and animation frames

2017-2018
Costume Quest
lead actors (l-r) at a
cast & crew screening,
August 2018:
Allie Urrutia,
Gabriella Graves,
Sloane Letourneau, and
Issac Ryan Brown

107 Facts
..........................................
Created by Matt Gielen
Several years ago, the Frederator Digital

programming group adapted one of the most
durable media tropes: The List. They refash-
ioned it beautifully in streaming video on all our
channels, subscription and ad supported, and
broke the back of conventional wisdom about
video lengths. For some reason, in all eras of
electronic media –and none more than in the
internet age– it has always been an article of
faith that young fans have short attention spans.
No matter that the evidence disproves the theo-
ry over and over.
From our very first episode –"107 Simpsons

Facts Everyone Should Know"– through the
more than 500 to date, Frederator Digital has
kept pushing the limits and now the average
episode length is over 30 minutes. And the
majority of our viewers watch all the way
through.
More importantly, 107 Facts has flourished

across all of our programming categories.
Cartoons for sure at Channel Frederator
and Cartoon Hangover. But it's worked
just as well –or better– with video games
on The Leaderboard, live action TV and
movies on Cinematica, and lately with anime
at Get in the Robot.
Channel Frederator,
The Leaderboard &
Cinematica
YouTube thumbnails 2015-2018

Left to right
and below:
Gumball,
Gravity Falls,
Friends.
Clockwise,
from above:
Family Guy,
Back to the Future,
Sims 4,
Five Nights
at Freddy's
Fanboy & Chum Chum
..........................................
Created by Eric Robles
Two Emmy Awards, five other award winners,

and 10 nominations.
Eric Robles worked on a picture book for

Frederator and then pitched us his CG short
"Fanboy" for Random! Cartoons.
Set in a fictional convenience store in the San

Fernando Valley area of Los Angeles that Eric
grew up in it went right to series for Nickelodeon
in 2009 with 26 half hours.
Eric brought the classic "squash and stretch"

humor to the party that other computer
generated characters were missing on TV.

Fanboy & Chum Chum
..........................................
Even to me, it's a revelation to see a creator's

early sketches of their characters. Soon enough
the drawings get "cleaned up" so that the dozens
of storyboarders, background artists, and ani-
mators can all work on the same cartoon with a
semblance of order.
Expression drawings by Eric Robles 2009
Frederator
Postcard Series 8.1
October 2, 2009

Fanboy & Chum Chum
..........................................
Fanboy might have relied on what seems like

cold computer generated images, but that wasn't
going to stop the FB&CC creative team from
making classic squashes and stretches.
Fanboy and Chum Chum art
Sketches by
Eric Robles

Fanboy & Chum Chum
..........................................
Promotional posters

Fanboy & Chum Chum
..........................................
Eric's sketches for his titles were illustrated to be

finished in all sorts of styles. All of them funny.

Fanboy & Chum Chum
..........................................
Toys are one of the great side benefits of a

wonderful show. Florida based Jazwares is an
innovative company that stays ahead of trend
and they stepped up for Fanboy & Chum Chum
with some cool swag.
Jazwares Freeze Pod Vehicle 2010
Man-Arctica!
glow in the dark from
Jazwares 2010

Frederator Digital Mini-Series
..........................................
Cartoon Hangover Select
Always on the lookout for original talent for

our subscription channel at Cartoon Hangover
Select, Frederator Digital's production team
in New York –led by Carrie Miller– scouted
creators from Too Cool! Cartoons, YouTube, and
even our former interns to develop these four
mini-series.
Title cards 2018

..........................................
YouTube/VRV
Cartoon Hangover –named by Melissa Wolfe,

logo by Jeaux Janovsky–started as a Channel
Frederator segment in the 00's, meant to flag the
more outrageous comedy cartoons. By 2012, we
launched as a discrete channel on YouTube. And
the subscription based Cartoon Hangover Select
went live/beta on Christmas 2017.
Originally the home of Pendleton Ward's Bravest

Warriors and James Kochalka's SuperF*ckers,
the channel quickly branched out. The big idea
animation incubators Too Coo! Cartoons and
GO! Cartoons spawned a group of first time
creators including a rich vein of female filmmak-
ers including Natasha Allegri ("Bee and Puppy-
Cat"), Miss Kelly Martin ("Dr. Lollipop"), Jiwook
Kim ("Blackford Manor"), Elyse
Castro ("The Summoning"), Mel Roach
("Rocket Dog"), Alison Cowles ("Boots"), and
Kate Tsang & Jennifer Suhr ("Welcome to
Doozy").

..........................................
VRV
Time out for a quick hat tip to our great

friends at the VRV platform. When VRV was
only a twinkle in their eyes, CEO Tom Pickett
and General Manager Arlen Marmel reached
out to me as admirers of our Cartoon Hang-
over original programming successes and in-
vited us to be part of their vision in the future
of speciality subscription channels. We signed
on immediately, and along with channels like
Rooster Teeth, Crunchyroll, and MondoMedia,
our fans now can join up and see some of our
best work.
VRV logo 2016
Frederator Postcard
Series 38 2017
..........................................
YouTube/VRV
Millions of fans discovered Cartoon Hangover

with their love of Pen Ward's Adventure Time
follow up, Bravest Warriors. They stuck around
to make Bee and PuppyCat the most backed
Kickstarter in history and watch all the Too
Cool! and GO! Cartoons. Then, they even sub-
scribed when we launched Cartoon Hangover
Select on the VRV app. We wanted to let them
know we appreciated their loyalty by making
them a series of promises.
• Your #1 cartoon channel. You know who you

are and why you like this stuff. And who cares
what anybody else says.
• Original series. From (where else?)

Frederator Studios & Frederator Digital.
• From creators to you. No interference, no

corporate meddling, no dilution. Just art.
• We all have something good inside. There’s

beauty in the spirit and the character of Cartoon
Hangover people, even people who don’t know yet
that they love Cartoon Hangover. Don’t hold back.
Submit.
• It's bad for you. Like all good things, there’s

always the danger of falling too much in love.
• Together we stand for independent artists.

No interference, no corporate meddling, no
dilution. Just art.
• Perfectly odd entertainment for perfect people.
• Thank you for sharing your cartoon hangover.

..........................................
YouTube/VRV
Take eight cups of cosplay, add in a gallon of

acting and high key photography. No wonder
I love our fans.
Promise title cards from fan art 2017-2018
Fan art photography:

(left, top to bottom)
jatek,
Anoriel,
starfall photography.
Next page:
(top to bottom)
CYuuka,
Nico Huber,
carmelvardi.
GO! Cartoons
..........................................
Sony Pictures Animation wanted in on our

streaming fans and the Frederator/Cartoon
Hangover shorts action and partnered with
us in 2017 for my 6th "big idea" cartoon
incubator.
Studios co-heads Eric Homan and Kevin

Kolde, with Development Manager Kelsey
Calaitges, took more than 800 pitches from
across the globe to find the 12 final
GO! Cartoons.
Creators' poster 2018
Graphic design
inspirations from
Reid Miles'
Blue Note Records
vinyl album covers.

GO! Cartoons
..........................................
The 12 GO! Cartoons shorts debuted

simultaneously on our subscription
channel Cartoon Hangover Select on VRV
and Cartoon Hangover on YouTube with
phenomenal results. More than 5 million
views at YouTube and fan love galore.
death storm CartoonHangover I don't know

who made this but make more
Eric Nielsen Holy hell. My dreams have come

true, and it's a good one too.
Dean Bean if GO! Cartoons is a bunch like this

I'm totally going to be following it!
SSJSmith Nickelodeon did this with

Oh yeah Cartoons! It's how they found
Fairly Odd Parents. Good idea!
RavinKaito Let me give you that 666th like, you

beautiful drunken monsters
Postcard Series 36 2017-2018

The Summoning
..........................................
Created by Elyse Castro
some blasian this is cute! and evil!

THE ONLY TWO THINGS I NEED IN
A GREAT CARTOON
It Ain't Me This is honestly better than

a lot of junk on tv.
Limey Lassen The color palette of this show

800% my aesthetic. Get out of my head!!!
Julio Acceus This is the best 5 minutes

of cartoons I ever got.
YugentheHime I enjoyed this it was

very different and had a darker theme, but it
was very happy and satisfying. Kind like seeing
happiness in somewhat dark humor.
Good job Cartoon hangover I hope it continues.
Luna the fox I like how she sounds like

she's gonna kill someone but somons [sic] a
demon to kill dirt.
BoostedAnimals I hope the hundred odd

comments here, 5k on youtube, and over
a million views are enough to convince CH
to make this a full fledged series.
I'm already an instant fan.
Bee Dude this is so promising keep up the great

work why you deserve an Oscar.

Get in the Robot
..........................................
YouTube/Cartoon Hangover Select
I dropped my first YouTube experiment

–Channel Frederator– more than a decade
ago, and with literally billions of new viewers
and creators flooding the platform it behooves
programmers like us to stay ahead of the windy
curves.
Carrie Miller led the very anime creator/produc-

er team of Casey Gonzalez and Adrian Apolonio.
They all longed a video channel that didn't pit
factions of fandom against each other. So in the
summer of '18 they put up Get in the Robot and
immediately saw that hundreds of thousands
across the world –millions to come!– whole-
heartedly agreed.
"I absolutely love how much of a different feel

[GiTR] has from normal anime channels. It
takes a similar direct approach without making
a point too extreme."
–Kevin K-MO Mohammed,
YouTube August 4, 2018
Logo and branding graphics

by Alexandria Batchelor 2018

My Life as a Teenage Robot
..........................................
Created by Rob Renzetti
Rob Renzetti was one of our creators at

Oh Yeah! Cartoons, with a blind commitment
for six shorts... as long as one of them was
"Mina and the Count," a cartoon he had made at
Hanna-Barbera's What A Cartoon!
His sixth short was "My Neighbor was

a Teenage Robot," which spun off the
next year as its own series, the iconic
My Life as a Teenage Robot.
Rob is one of Hollywood's most talented and

reliable animation director/writers. We met
when he was on the crew of the cult hit that
started our cartoon streak at H&B, 2 Stupid
Dogs, and he became a key collaborator on
Genndy Tartakovsky's Dexter's Laboratory and
Craig McCracken's The Powerpuff Girls. After
MLaaTR he's been the story editor on My Little
Pony: Friendship is Magic and a director on Fos-
ter's Home for Imaginary Friends, Family Guy,
and Gravity Falls.

..........................................
Emmy Award winner, three other award

winners, and 12 nominations.
"The Sweetest show to grace the small screens!

MLAATR is cute, funny, unexpected and a real
blast to watch from start to finish."
– Glen B.Wang, IMDB.com 20 April 2005
"Jenny... [is] a super-powered robot with a su-

per-sensitive teenage heart. Her primary func-
tion is to protect the planet from certain disas-
ter, but, like all teenagers, she has her own ideas
about how she would like to live. Defending the
Earth has become a mundane chore, and she
would rather do more exciting things like go to
high school and be allowed to drive the family
car."
–TV.com
"My Life as a Teenage Robot is ... sophisticated in

it's humor, illustrations and story line...it's one of
those cartoons that adults see the hidden humor
that younger audiences don't catch - but the
entire family will enjoy...this is really good..."
– Darryl Deanon, Amazon.com July 26, 2016
Poster Art Direction by Alex Kirwan

Design & illustration by Jill Friemark 2003

..........................................
Rob and his MLaaTR creative partner Alex Kir-

wan –another Oh Yeah! alum– were
obsessive about every aspect of their series,
but that went double for its design and art.
When we saw the precision of research and

skills that their entire team put into the deco
and vintage sci-fi art we had to get it out into
the fandom world. First came a hint with the
"how to draw Jenny/XJ9" postcard, and then
the Eric Homan/Renzetti/Kirwan edited
sketchbook.
There's no shock that fan art for the show

and its indelible characters continues unabated
more than a decade after the last episode was
produced.

The MLaaTR Sketchbook 2004
Two background designs from

" The MLaaTR Sketchbook"
..........................................
Rob and art director Alex Kirwan gave carte

blanche to designer Joseph Holt who used it
beautifully with his remix of Teenage Robot
cartoons and Soviet constructivism from the
early 20th century.
Title cards designed and

illustrated by Joseph Holt 2003-2009

ChalkZone
..........................................
Created by Bill Burnett & Larry Huber
One Annie Award, one BMI Film & TV Award

Winner, and two Annie Award nominations.
It's safe to say that my shorts projects wouldn't

be what they are without animation veteran,
director, producer/writer Larry Huber. During
an amazing career he's supervised untold car-
toon series and was the supervising producer
(and anchor) at the H&B groundbreaking shorts
incubator What A Cartoon! He signed on to
Oh Yeah! Cartoons as an executive producer in
1997, where he partnered with...
Cartoon fanatic, writer and musician Bill

Burnett was a colleague at my branding/adver-
tising agency in New York. He came to Holly-
wood as Hanna-Barbera's marketing creative di-
rector before being part of Oh Yeah!'s inaugural
team, composing its theme song, and the main
titles to every one of his shorts and series.
Bill and Larry immediately joined up and came

up with their take on a "through the looking
glass" world behind a school blackboard.
Nickelodeon president Albie Hecht fell in love

with the concept straight away and after a few
more shorts, series scripts were written, story-
boards drawn, and the show was on the air in
2002.

Character design & illustration by
Carlos Ramos

ChalkZone
..........................................
Sometimes the handwritten notes on a script

can be almost as interesting as the script itself.

ChalkZone
..........................................
Larry and Bill like everything about classic

cartoons just like I do. So, no surprise, they
went out of their way to make the CZ title cards
very special. Artist Guy Vasilovich (a Frederator
shorts creator himself) came up with a cross
between psychedelic black lighting and chalk on
a blackboard for a super graphic effect.
Title cards illustrated by Guy Vasilovich

ChalkZone
..........................................
Artist Frank Rocco is a familiar presence in the

animation industry of Los Angeles and a Friend
of Frederator. We commissioned him to do a
take on the distinctive world that could exist
behind the blackboards of ChalkZone. Rudy,
Penny and Snap all survived the journey!
Promotional poster illustration

by Frank Rocco 2004

ChalkZone
..........................................
I was scrounging around the artists' desks

again and couldn't resist sending postcards
with the results.
Frederator Postcards Series 5 2004-5

ChalkZone &
..........................................
Our crews are locked up at their desks for

months at a time during a production (it's
amazing how quiet a cartoon studio can be
at times). So the end of a season is as good
as reason to get together and kick back as any.
Cast and crew wrap party posters by

Hatch Show Print, Nashville 2003

Oh Yeah! Cartoons
..........................................
One Annie Award, one Emmy nomination,

and 12 other award nominations.
Oh Yeah! was my maiden voyage at Frederator,

the extension of the work that revived the very
notion of "cartoons" at Hanna-Barbera. And
it led to Nickelodeon's giant hits The Fairly
OddParents, ChalkZone, and My Life as a
Teenage Robot.
99 short films, 245 half hours, and a half dozen

movies later, the 41 creators and their crews
form the core of the world class talent that has
fueled the animation business across the globe
for the last two decades.
Cast and crew wrap party posters by

Hatch Show Print, Nashville 1998-2000

Oh Yeah! Cartoons
..........................................
Oh Yeah! Cartoons has been our biggest

talent incubator to date. 41 creators, 51
original cartoons and 99 shorts altogether.
Three fantastic series picked up (one of them
on in production for almost 20 years) and a
half dozen TV movies. Not a bad haul at all.
Frederator Postcard Series 1, 2, 3

1998-2000

Oh Yeah! Cartoons
..........................................
Jon Kane's Optic Nerve has been my creative

companion on countless projects since he
was a kid right out of college. He knows I
love LP design, especially Reid Miles'
graphics for Blue Note Records, so for the
Oh Yeah! graphic introductions and bumpers
he seamlessly wove together a jazz homage with
kids' love of cartoons.
My perfect combination.
Bumper screen captures 1998

Directed by Jon Kane, OpticNerveUSA
Logo designed by Carlos Ramos

Oh Yeah! Cartoons
..........................................
Eric Homan was the creative director of the

Hanna-Barbera Cartoons Animation Art group
and my co-worker at the studio. He joined
Frederator during the first season of Oh Yeah!
and immediately jumped in, taking the shorts'
ID tags and produced the studio's one and only
limited edition animation art cel.
Season 1 commemorative sericel 1998

Creative director: Eric Homan

The Leaderboard
..........................................
Video games moved to the center of the culture

in the 21st Century and nothing signaled that
center of gravity more than games ascendence
on YouTube. Who was I to argue? (Even if I'm
not of generation gamer.)
The Leaderboard dropped in 2015 and has

relentlessly built, experimented with formats,
branding and spin off channels, achieving it's
biggest performance in 2018.
Thumbnail 2018
Logo design by Alexandra Batchelor
The original branding:

Designed by Jen Dean
Frederator Postcard Se-
ries 31.1
2015
A Leaderboard
spin off channel:
Rainbow Six Siege
Moments & Highlights
2018

The Leaderboard
..........................................
Our video game audience likes different

styles of gaming, but we've found –not unlike
our animation audiences– they really respond
to games that feature great characters and
great stories.
Thumbnails 2016-2018

Átomo Network
..........................................
A joint venture of Á nima Estudios & Frederator
More and more of The Channel Frederator

Network members were coming from Latin
America and Spain. In order to help them
get more viewers, and hopefully make
some more money, we partnered with my
good friends at Ánima Estudios in Mexico
City and created the world’s first Hispanic
animation network.

Art direction & illustration by Paola Howard

Frederator Books
..........................................
Catbug
Frederator Books was a bet that in the age

of ebooks parents of young kids would
much prefer a giant virtual library over
piles and piles of books. Our talent choices
in animation would help us get a head start.
Catbug was on his way to becoming a

multi-media sensation. He had broken out
–the adorable and arresting voice of 7 year
old Sam Lavagnino certainly helped– and
was a perfect character to launch our
publishing program which would include
"read-alongs" which could only be possible
in the digital universe we were all entering.

Frederator Books
..........................................
Lucy the Dinosaur
Created and written by Joey Ahlbum
Lucy first popped up from animator

Joey Ahlbum, longtime Friend of Fred
and Frederator, as a possible picture
book. Later, he adapted her as a series
of animated videos on our Fredbot kids
channel, and again as a mainstay at
Frederator Books.
Even with digital drawing tools,

artists often find
that a pencil might just
be their most critical
technology tool.
Bolder Media for Boys and Girls
..........................................
Producer Susan Miller (Ella Enchanted) and I

got together and cooked up an approach to pre-
school characters. Adapting our big idea shorts
incubators, Frederator's Eric Homan developed
30+ picture books exclusively with animation
artist/creators for Random House Kids. Nick Jr.
got their pick for a series on their channel.
Ultimately, Random House passed on Bob

Boyle's Wow! Wow! Wubbzy! which went on
to be a hit series (go figure), but we published
another of Bob's ideas, "Hugo and the Really,
Really, Really Long String," and Eileen
Brennan's "Dirtball Pete." Soon, it became
clear that Bolder had "creative differences" with
our publishing partner and we went our sepa-
rate ways. But, all's well that ends well.
We got two fabulous books and continuing
relationships with Eric Robles (Fanboy & Chum
Chum), Joey Ahlbum ("Lucy the
Dinosaur," "Hilly the Hippo"), Diane
Kredensor (Call Me Bessie, The Ollie &
Moon Show), and many others.
"Dirtball Pete"
"Hugo and the
Really, Really, Really Long String"
2004

Wow! Wow! Wubbzy!
..........................................
Created by Bob Boyle
One Emmy Award, one Telly Award,

and three other award nominations.
Wubbzy –neé Wubby, but you know how

lawyers can be– started life as a picture
book that was designed to double as a TV
show for young kids at Nick Jr.
Creator Bob Boyle initial Frederator life was as

a storyboard revisionist on Oh Yeah! Cartoons –
where he created two of his own original shorts–
graduating to Art Director, then producer, of
our series The Fairly OddParents.
When I partnered with producer Susan Miller

to start Bolder Media for Boys and Girls we
instantly thought that Bob had the goods, and
sure enough he quickly come up with several
projects. "Hugo and the Really, Really, Really
Long String" became a picture book and then,
straight away, Wubbzy was a hit TV show across
the world.
Pitch bible cover 2004
Bob's first pitch to us became a

popular picture book on our Bolder
Media for Boys and Girls imprint. But
curiously, our publishing partner opted
to pass on Wubbzy even though it had
a guaranteed spot on the Nick Jr. schedule.
Wow! Wow! Wubbzy!
..........................................
Like all artist/creators, Bob Boyle was

extremely particular about how to draw his
characters. The models not only served
storyboard artists and animators, but would
also help the hundreds of artist who would
work on the licensed products that ranged
from books to bedsheets, party favors to dolls.
Model and design sheets 2005
Wubbzy creator
Bob Boyle in
his backyard.
Pasadena, California 2006

Wow! Wow! Wubbzy!
..........................................
Bob was ready for our title card obsession. And

since he was an artist himself, he couldn't have
been happier or more excited to set the creative
directors the cards would take.

Wow! Wow! Wubbzy!
..........................................
Bob created the design style of Wubbzy

based on love of the collectible Japanese
vinyl toys that began making their way to
the US in the 90s. It was only fitting that our
licensee, Mattel's Fisher-Price, indulged us
with their own set of blind box vinyl figurines.
We brought a box over to a Frederator New York

Drinking & Drawing event and the artists had at
'em.
Drinking & Drawing June 24th 2009
Anatole Hernandez drawing his

Wubbzy at a Frederator
Drinking & Drawing event in
New York City.
Wow! Wow! Wubbzy!
..........................................
Beyonce wanted to do something nice for

her baby nephew, and Wubbzy loved Beyonce
(who doesn't?). Thanks to my Bolder Media
partner Susan Miller it was a match made in pop
star heaven.
Not surprisingly, the highest rated, best selling

Wubbzy.
DVD cover October 2009
My productions try to
be practical. "Wubb
Idol" was written as
a movie and as eight
discreet W!W!W!
episodes. That way,
it was programmed
as a feature film or
for traditional TV play.
Clever, yes?
The Meth Minute 39
..........................................
Created by Dan Meth
"Garage band" animator Dan Meth was a one

man show, writing, designer, voice acting, and
scoring his web commercials when he joined
Frederator/New York in 2007. I was more than
skeptical when he suggested he could create his
own shorts show of "39 shorts in 39 weeks" but
his skills were persuasive. It took a little lon-
ger than projected, but producer Carrie Miller
made sure The Meth Minute 39 dropped on
Channel Frederator as our first original stream-
ing video series. "Internet People," sponsored
by the then-new Tumblr social network, was
an out of the box sensation with over 4 million
views, and the spin off series Nite Fite debuted
nine months later.
Frederator Postcard
Series 9.10 2010
Frederator Postcard
Series 21.16 2014

What A Cartoon!
..........................................
I started in the cartoon business in 1992 when

Ted Turner bought the venerable Hanna-Barbera
Cartoons and his entertainment chief, Scott
Sassa, asked me to leave my branding partner-
ship, change careers and run the studio. The
company had seen better days, its big, origi-
nal successes at least a decade in the past. As
a programming consultant to Nickelodeon I'd
suggested a "back to the future" strategy of the-
atrical-like shorts to find the hits of the future
–and, not for nothing, to resurrect the very idea
of "cartoons"– but in their infinite wisdom the
channel passed. The idea came along with me to
H&B and, after a little persuasion, Ted and Scott
signed off.
With 5000 pitches from across the globe our

team selected 48 creators. There were veterans
Ralph Bakshi, Bruno Bozzetto, and David Feiss,
indie hero John Dilworth, and newcomers Craig
McCracken, Van Partible and Genndy Tarta-
kovsky and a few dozen others.
Big hits that became series and wonderful one

offs, this big idea factory was the first of our
talent incubators. And, the real beginning of my
life in actual character based cartoons.
Title sequence, video capture

Designed by Larry Huber 1995

Dexter's Laboratory
..........................................
Created by Genndy Tartakovsky
When he got out of CalArts in the late 80s,

Genndy Tartakovsky was determined to become
a lead animator on a feature film because the
cartoon business that he loved seemed like it
no longer was open to original creations. His
directing stint on Hanna-Barbera's 2 Stupid
Dogs made him realize that things were finally
changing and he pitched his unfinished senior
project as a short for What A Cartoon!
In 1995, Dexter's became the first series to be

spun out from our very first experimental car-
toon laboratory.
Johnny Bravo
..........................................
Created by Van Partible
Van Partible was kind of a guinea pig who

got his shot partly because Jed Simmons, my
partner at Hanna-Barbera, wanted someone
to make a cartoon with some new technolo-
gy that was starting to make its way into an-
imation. Van, a motivated, hard worker, was
up to the task and his short was the perfect
candidate. He scored, and Johnny Bravo was
the second What A Cartoon! spin-off series.

Cow and Chicken
..........................................
Created by David Feiss
Thanks to a suggestion from WAC! Supervising

Producer Larry Huber, cartoon veteran David
Feiss came into What A Cartoon! from his run
of hilarious storyboards for Hanna-Barbera's
reboot Super Secret Secret Squirrel. His bedtime
stories for his kids became even more outra-
geous when he boarded the original pitch for
Cow and Chicken and virtually every frame was
a really funny drawing. A full series order fol-
lowed in 1997.
The Powerpuff Girls

..........................................
Created by Craig McCracken
Another 2 Stupid Dogs crew member, Craig

McCracken brought over his student film,
"Whoopass Stew - A Sticky Situation" starring
–who else?– The Whoopass Girls, to me as a
pitch for a short. In a first and only, I gave it
a greenlight even before he storyboarded the
actual short that starred the renamed-for-kids
"The Powerpuff Girls." Despite a disastrous set
of focus groups –in those dark ages of the 1990s,
kids were really confused by the anime inspired
design– the series went on to be one of the
mainstays of Cartoon Network, with a success-
ful reboot 18 years after the original.

I. . Am Weasel
........................................
Created by David Feiss
David Feiss loved the original TV cartoon series

formats from the 1950s, three six-minute shorts
in a half hour. I did too, and so did Cartoon
Network. So, originally Cow and Chicken was
two C&C bookended shorts with a different
character –I.M.Weasel– in the middle. By 1999,
Dave's brand of humor pushed the Weasel out
into his own series which eventually swelled to
79 episodes.
Courage the Cowardly Dog

..........................................
Created by John R. Dilworth
When programming executive Linda Simen-

sky suggested we take this pitch, John Dil-
worth was (and remains) a stalwart of the New
York indie animation scene who probably
never imagined that his work would conquer
the mainstream. His original What A Car-
toon! short "The Chicken from Outer Space"
garnered Hanna-Barbera the only Academy
Award nomination in its history, and spawned
the series named after its star, Courage the
Cowardly Dog.

Shortly thereafter, at Han-
na-Barbera Productions,
a new kind of revolution
began to brew: a return
to old forms reworked by
fresh, new voices. Under the
leadership of Fred Seibert —
a former ad man tapped by
Ted Turner to be president
of Hanna-Barbera following
Turner’s purchase of the
studio in 1991 — a program
was launched that would
eventually generate 48 cre-
ator-driven, seven-minute
animations in the vein of the
old theatrical shorts from
‘Take Back Our Cartoons’ American animation’s first golden age.
How What a Cartoon! tapped ani-
Seibert would be the studio’s final president, but
mation’s past to push the form into a the wide-ranging anthology series he developed
new ’90s golden age. became an incubator for Hanna-Barbera’s sister
By John Maher Oct. 8, 2020 company Cartoon Network, which launched in
1992. This series went through a number of name
changes after the February 20, 1995, premiere of its
In 2020, it can be hard to remember how dire the
first short (The Powerpuff Girls pilot “Meat Fuzzy
state of American animated television was not so
Lumkins”), being called everything from World
long ago. In the 1980s, repetitive adventure series
Premiere Toons to The What a Cartoon! Show. But
designed to sell action figures, like Transformers,
to folks there from the beginning, it would always
He-Man and the Masters of the Universe, G.I. Joe,
be known as What a Cartoon!
and Thundercats, dominated TVs nationwide.
.....
Easily the best toons on the tube at the time were
Boundary-pushing but steeped in cartoon histo-
reruns of theatrical shorts from the golden age of
ry, What a Cartoon! struck a remarkable balance
animation — Looney Tunes, Merrie Melodies, and
between old and new. It featured work by Han-
Tom and Jerry. Even the cream of a new crop of
na-Barbera’s namesakes, William Hanna and Joe
shows, like DuckTales, were reworkings or reboots
Barbera, the Italian animator Bruno Bozzetto, and
of long-beloved IP’s, and the bulk of those were
the adult-oriented independent animated film di-
clunkers too. (Remember the Ghostbusters animat-
rector Ralph Bakshi, among other old hands. It also
ed series? You shouldn’t.)
launched the careers of a new generation of creators
and animators, among them Craig McCracken,
For some, it seems just as difficult to remember how
Genndy Tartakovsky, Pat Ventura, Van Partible,
great cartoons were in the 1990s, when America’s
Butch Hartman, Rob Renzetti, Dave Feiss, Miles
golden age of animated television began in earnest.
Thompson, John R. Dilworth, Zac Moncrief, and
TV critics gush about Adventure Time, BoJack
Seth MacFarlane.
Horseman, and other shows from the third millen-
nium, but to act as if the new golden age began with
Of the 18 shorts released in 1995, four were devel-
these series is to ignore nearly a quarter-century of
oped into Cartoon Network shows: Tartakovsky’s
history that found its genesis in the debut of The
Dexter’s Laboratory, Feiss’s Cow and Chicken, Parti-
Simpsons just a few weeks before the turn of the
ble’s Johnny Bravo, and McCracken’s The Powerpuff
decade. If there was any uncertainty as to whether
Girls. Cow and Chicken would go on to spawn the
this was the first great toon among many and not a
spinoff I Am Weasel, and Dilworth’s 1996 Courage
one-off deal, the release of the first slate of Nick-
the Cowardly Dog short “The Chicken From Outer
toons in 1991 — Doug, The Ren & Stimpy Show, and
Space” would later be turned into a series as well.
Rugrats — erased any doubts.
238 BEST OF ORIGINAL CARTOONS Getting there, though, took some trial and error.
When Seibert took over Hanna-Barbera, he says, it they’ve got ideas. That’s how 2 Stupid Dogs got into
was losing $10 million a year, and he had no previ- Hanna-Barbera.”
ous experience with cartoons. He was nervous. But
Turner reassured him that it couldn’t get any worse. It was also the founding principle of What a
Cartoon! At first, the old hands at the studio found
“Think about it this way,” Seibert recalls Turner tell- this confounding, but the younger generation saw
ing him. “They haven’t had a hit since The Smurfs their chance and took it. 2 Stupid Dogs may have
in 1981. If you come in and have a hit, people will been a commercial flop, but it was staffed by a slew
think you’re a genius. And if you don’t have a hit, of young animators, most of whom were hungry
they won’t blame it on you!” former California Institute of the Arts students —
among them, McCracken, Tartakovsky, Hartman,
It was a rocky beginning. All Seibert knew when he Renzetti, Feiss, Thompson, Moncrief, Paul Rudish,
walked in was that he loved the classic shorts, the Andrew Stanton, and Conrad Vernon — and all
kind that Hanna and Barbera, and Warner Bros. but Stanton and Vernon would go on to be involved
before them, had been known for in their Tom and with What a Cartoon! Of those, all but Rudish, who
Jerry days. (The kind that, as reruns, made up the was instrumental to both Dexter’s Laboratory and
bulk of Cartoon Network programming for its first The Powerpuff Girls, pitched their own shorts.
couple of years.) Upon telling his staff about his lack
of animation experience, “half of them quit imme- They pitched those shorts to a greenroom full of
diately,” Seibert says. And many of those who stayed nearly 20 people, which Seibert had organized
found his unorthodox methods frustrating — or at because, he says, “I was so scared that I knew noth-
least preferred the days when anyone in the office ing.” The room contained representatives of Car-
who pitched an idea got the green light and the cash toon Network, such as Mike Lazzo (the network’s
flow to take it to series. original programmer, the creator of Space Ghost
Coast to Coast, and, by 1994, its vice-president of
After two swings and misses — SWAT Kats: The programming, who went on to found Adult Swim
Radical Squadron and 2 Stupid Dogs — Seibert and finally retired from the company earlier this
became worried. It was 1994, and Nicktoons were year), Hanna-Barbera staffers, and What a Cartoon!
firing on all cylinders. So he went to Turner and executive producer Larry Huber, who would serve
convinced him to let him start making cartoons as a mentor to many of the creators who came up
“like they used to do in the great days of theatri- through the program. That greenroom became a
cals,” he says, “one cartoon at a time,” just to see hive of cartoon expertise that would determine
how people liked them. Ten million dollars later, what a new era of programming would look like
that’s exactly what Seibert did. — and whether the creators who brought in their
pitches would get a chance to be a part of it.
Hanna and Barbera, along with Looney Tunes leg- .....
end Friz Freleng, taught Seibert how the old shorts Talking about those early days, the four creators
were produced, and Ren & Stimpy creator John whose shorts ran in 1995 and were eventually
Kricfalusi — now disgraced for his sexually preda- adapted into shows — McCracken, Tartakovsky,
tory behavior but one of the leading lights of a new Partible, and Feiss — describe a studio environment
generation of animators at the time — advised him bursting with creative energy, camaraderie, and a
as well. Then Seibert opened a call for pitches for genuine dedication to taking risks. Of their shows,
what would become What a Cartoon! and in doing three of them (The Powerpuff Girls, Dexter’s Labora-
so, turned the industry’s established norms upside tory, and Johnny Bravo) were based on student films
down: No one would be paid to create storyboards made just a few years earlier, and the fourth, Cow
for their pitches, but if those pitches were turned and Chicken, started as a bedtime story that Feiss,
down, the creators, not Hanna-Barbera, would own who was about a decade older than his fellows, had
them. come up with for his daughter.
“The way it worked throughout the ’70s and ’80s While The Powerpuff Girls was the last of these
was a studio would come up with a cartoon, they shorts to go to series, it was the first to air. In fact,
would pitch it to a network and then the artists who McCracken says he was initially told it would go
worked at the studio would make it,” McCracken to series even before What a Cartoon! launched,
says. “But in the early ’90s, there was this push: although that changed once incubating shorts
Let’s go directly to the cartoonists who want to 239
PRODUCED BY FRED SEIBERT 1981-2023
make cartoons and have characters and ask them if
became the priority at Hanna-Barbera. He, Tarta- Metro-Goldwyn-Mayer Studios. And once he got
kovsky, and Renzetti (who would work on both of the go-ahead from Hanna-Barbera to produce the
their shows before launching My Life As a Teenage first Cow and Chicken short, Feiss, an animator as
Robot at Nickelodeon in 2003) all attended Ca- well as a director, did something almost no one
lArts together. Tartakovsky, the Russian American in the animation industry does: He animated the
creator whose Dexter’s Laboratory short “Changes” entire pilot by himself.
— adapted from a student film following, appropri-
ately, an extraordinary set of changes — aired only “I would work at night animating, and it took ten
six days later, says their schooling had prompted months to complete the seven-minute pilot,” he
them to stick together. recalls. “During that time, I would animate, like, 30
seconds here and 30 seconds there. My art direc-
“I already lived with Rob in college because we tor, who did all the backgrounds, was a guy named
both moved out to L.A. from Chicago, so adding Deane Taylor out of Australia. At the time we
Craig to the mix was very funny,” Tartakovsky says. were doing the Cow and Chicken pilot, he was also
“Both Rob and I are very independent, and Craig is working for MGM and he was in Dublin, so he was
more of a hang-on kind of guy. If we were ordering sending scenes by FedEx to me from Dublin and I
dinner, he’d want to jump in. He was almost like was animating them as they arrived.” Although the
our little brother in a way, even though we were just production was grueling, Feiss says, “it was one of
a few years apart — Rob was older than me, and I the best times in my career, those ten months. It
was a little bit older than Craig — so it was this very was the most freeing, creative thing that I had done
funny dynamic. And artistically, we were all very up to that point.”
like-minded. We were all supporting each other’s .....
strengths and weaknesses.” The process wasn’t always easy or straightforward.
Tartakovsky, McCracken, Feiss, and Partible all
Partible, a Filipino American creator who gradu- mention nerve-wracking focus-group sessions in
ated from Loyola Marymount University, had just Dallas and Tucson. While Tartakovsky did well with
turned 23 a few months before the first Johnny Bra- focus groups, the others weren’t always so lucky,
vo short aired one month after Dexter’s Laboratory. and the lukewarm reception The Powerpuff Girls
And unlike all the other creators but Feiss, he had received was part of what kept McCracken’s short
every part of his short produced in L.A., including from going to series until two and a half years after
the animation, which then, as now, was usually sent Dexter’s Laboratory.
overseas to be completed at a cheaper rate. Another
unique thing about Partible’s experience, he says, “It didn’t test well. It didn’t test well with boys
was the opportunity he had to learn a very new — and I don’t think it tested that well with any-
technology: computer animation. body — so it didn’t get picked up to go to series at
that point,” says Linda Simensky, who came over
“I was hired at a very low rate to do this short, but from Nickelodeon in 1996 and was named senior
because I was getting paid so little and computer vice-president of original animation at Cartoon
animation was just starting up, they said, ‘Hey, why Network and an executive producer on Dexter’s
don’t we teach Van how to do computer animation Laboratory. But McCracken’s storyboards for Dexter
while he’s doing this short?,’” Partible recalls. “So we had won her over, so she advocated for Powerpuff
tried this new system called the Animo animation with Mike Lazzo and the original Cartoon Network
system and ended up using it to scan all the draw- president, Betty Cohen, but to no avail. “Then I
ings in and ink and paint them on the computer begged Mike: ‘Let’s just let Craig develop it further.
and then we put them all together. So Johnny Bravo He does the funniest boards. I would really like to
was the first cartoon on TV that was done using a work with him again, and if we did another show
computer.” with this team, we could keep them all onboard.’
And of course, we did.”
Like the other three, Feiss got involved in the
industry early. Unlike the other three, he’d been Hanna-Barbera was throwing a lot of stuff at the
working in it for over a decade by the time the call wall, and plenty of creators saw their shorts air
for What a Cartoon! pitches came around. He had but go no further. Pat Ventura is a perfect exam-
worked at Hanna-Barbera before but was living up ple: An acolyte of Tex Avery, he was the one who
in Northern California at that time, working for first suggested to Seibert that the shorts be seven
minutes, à la the old theatrical shorts, rather than a
clipped three minutes. Seibert initially saw Ventura
as a perfect fit for the program, and in a way he was series, Oh Yeah! Cartoons, which resulted in hit
— he went on to create six What a Cartoon! shorts, shows of its own, including Hartman’s The Fairly
more than any other creator. But none were ever OddParents and Renzetti’s My Life As a Teenage
green-lit for a series themselves. Robot. A later effort, Pendleton Ward’s first Ad-
venture Time short, would premiere on Nicktoons
Then, of course, there was the gender disparity. Network and be anthologized as part of Frederator’s
Animation has long been something of a boys’ show Random! Cartoons before getting picked up as
club, but at Nickelodeon, at least Arlene Klasky a series by Cartoon Network and launching a whole
was a co-creator on Rugrats. All of the 48 What a new generation of creators itself.
Cartoon! shorts were created by men. And while
some women were involved in the process (Co- Another Cartoon Network anthology show, The
hen and Simensky, plus Ellen Cockrill, who was a Cartoon Cartoon Show, would replace What a
development executive on a number of the shorts, Cartoon! and produce hits of its own, including Hi
and others) and went on to have fruitful careers on Hi Puffy AmiYumi, Grim & Evil and its spinoff The
the business side of the industry, and some female Grim Adventures of Billy & Mandy, and Codename:
artists were also involved, the creative vision was Kids Next Door. Many of these creators and exec-
driven by men. utives would go on to become some of the biggest
names in the industry, and some of them are still
“I think it was just the climate at the time – there working today: Simensky is head of content at PBS
weren’t a lot of women who wanted to make Kids; Tartakovsky wrapped up his beloved Samurai
cartoons, and if they did, they weren’t getting into Jack in 2017 at Lazzo’s Adult Swim and is currently
CalArts for whatever reason,” McCracken says. “I rolling out new episodes of another show, Primal;
think there might’ve been four girls in our class. and McCracken is working on a new show, Kid
There were women at Hanna-Barbera who were Cosmic, for Netflix. Even if they aren’t still creating,
background painters and ink-and-paint people they set the stage for today’s landscape: Ward’s Ad-
who’d been working there for decades, but it was venture Time, Rebecca Sugar’s Steven Universe, and
a bit of a boys’ club. But once we sold Powerpuff, I a slew of other hits very well may never have existed
brought on Cindy Morrow, who I’d gone to CalArts had it not been for What a Cartoon!
with and was hilarious, as a storyboard artist. And
I met Lauren [Faust], my wife, on Powerpuff. She “This current era of animation was just beginning
came in on the third season.” at that point,” Simensky says. “There was a lot to be
learned about how to make cartoons for TV. So we
Simensky adds that, while there were a lot of female all learned a lot, and those of us who could stayed
board artists and a lot of women doing big jobs on with it.”
the production side, it was difficult to find women
creators – partly because of Cartoon Network’s That a program rooted in the history of the art
target audience and partly because of the history of form was so instrumental in pushing it forward
animation itself. “I remember taking pitches, and only shows how important it was for studios to take
the problem was that Cartoon Network was really chances on creators — to let them, as Partible puts
geared toward 6- to 12-year-old boys,” she says. “I it, “take back our cartoons.” And that’s exactly what
think at this point in history, there are many more they did.
women who can easily create for a larger audience
because they grew up with shows that were for John Maher is an award winning journalist and poet living in
more than one gender.” Brooklyn, NY, one of the two founding editors of The Dot and
..... Line, and an editor at Publishers Weekly. He's written for The
Los Angeles Times, New York magazine, Vulture, Esquire.
By the time the last What a Cartoon! short ran com, Thrillist, Real Simple, Polygon, Paste, MEL Magazine,
on Cartoon Network on November 28, 1997, the Observer, Literary Hub, Book Marks, Electric Literature, The
American animation landscape had changed for Comics Journal, Entropy, The Book Report, Luna Luna Mag-
good — and for the better. Long gone were the old azine, Yes, Poetry, The Adirondack Review, Time Inc. Books,
days of formulaic, 23-minute action-adventure and Outcryer, among others.
cartoons. After Turner Broadcasting System and Illustration from the collection of Van Partible.
Time Warner merged in 1996, Hanna-Barbera was Reprinted from Vulture.com
moved to the Warner Bros. Animation studio, and
Seibert left to launch Frederator Studios in 1997,
which he just left this year. Frederator went on to
partner with Nickelodeon on another anthology
"Frederator!"
..........................................
Production tags
When the first Frederator production went on

the air in 1998 I realized we didn't have the re-
quired four second production "tag" to go at the
end of the episodes. Friend of Fred and Freder-
ator Jon Kane agreed to put something together
tout de suite. Generally these things are forgetta-
ble, so we forgot about it until Jon delivered.
Visually, it worked. But the audio!
Jon's unidentified intern shouted "Frederator!"

on mike, and all of a sudden we had the most
identifiable branding in our company's history.
Once I started our own internet channels, Arlen

Schumer's 'Fredbot' became an official logo icon,
and we started finding delightful ways to exe-
cute. Stop motion, CGI, cut outs, you name it,
we tried to have some fun. Like a surprise in the
run out grooves of an old vinyl record, we like
to give our fans a quick tasty morsel before they
move on to the next binge.
Stop Motion by Kirsten Lepore 2009

Lego by Carrie Miller & Daisy Edwards 2010
GIF animation by Colin Raff 2013
The first Frederator

production tag, in
standard definition video.
Directed by Jon Kane,
Optic Nerve NY, 1998.
Lego Frederator
..........................................
Sculpture by Nathan Sawaya
Who doesn't love Lego? I'm no exception, we even

built some Lego conference tables for
our offices.
Completely by accident, I realized that world

famous Lego sculptor Nathan Sawaya lived and
worked around the corner from our Manhattan
digs. Brilliant! Nathan agreed to a commission of a
Lego-sculpt our world famous Fredbot.
Actually, two of them. The first was super glued

for stability and display, but the other wasn't.
Why? So that producer/directors Carrie Miller and
Daisy Edwards could deconstruct it in hundreds
of photographs and reconstruct it into a 4-sec-
ond stop motion Frederator production tag to
go at the end of our series like Adventure Time.
Photographed by Daisy Edwards & Carrie Miller

Assisted by Eric Beck
April 2010
The Frederator
Lego conference table,
designed by the
Frederator/NY team.
Frederator Postcard Series
..........................................
At Hanna-Barbera Cartoons, I wanted to

do something that spotlighted the creators
and artists, since the industry had been pret-
ty much ignoring (disrespecting?) them in so
many ways for so many decades. Back in the
day, the movie studios had made posters for
most of their cartoon short subjects, so I made
sure that we could too.
With Frederator Studios I continued our shorts

programs (with Oh Yeah! Cartoons and Ran-
dom! Cartoons and eventually The Meth Minute
39, Too Cool! Cartoons and GO! Cartoons), but
the cost of posters was prohibitive, so postcards
became the substitute; it was a great way to carry
on giving creators their due. We’ve had almost
1000 card in 45 series, and ultimately the format
allowed for a lot more flexibility and fun.
Over the years I designed cards in-house, had

guest designers, tagged series to our productions
and channels, and just enoyed myself. They’re all
“limited edition,” usually to (a slowly shifting list
of) 200 or 300 people or so, and I'm particularly
happy when someone says they’ve been saving
theirs for the past 20 years.
Frederator Postcard Series 1- 45

1998-2018

FredFilms Postcard Series
..........................................
I left Frederator and its recent parent, WOW!

Unlimited Media in late 2020 and organized a
new cartoon production company, FredFilms.
Of course, we needed two things. Our

promises, and our postcards.
Back in the day, in my network TV era, I

felt that making promises to viewers was
something that could keep a large organi-
zation on the same page, when commercial
considerations had a way of quietly compro-
mising decisions. FredFilms isn't large, but
nonetheless we want to keep ourselves hon-
est and our fans happy. What better way to
announce them but with a postcard?
We promise:
Creators first: Who knows best? The creator.

I think they're smarter than we are, and after
all, a creator butt is in the frying pan every
hour of every day.
Original, always: It's pretty boring following

the crowd. And we sure don't want to lead a
humdrum life.
Your next favorite cartoon: The Fairly Odd-

Parents, Adventure Time, Castlevania... Need
we say more?
FredFilms Postcard Series 3.1-3 April 2021

FredFilms Postcard Series
..........................................
FredFilms Postcard Series 1-7 2021-2023

New Year's Posters
..........................................
Excited by the Herman Miller Summer Picnic

Posters, I inaugurated my own (almost) annual
New Year's Poster Series in 2002 with some of our
favorite artists.
2002: Patrick Raske; 2003: Jorge R. Gutierrez; 2004:
Eugene Mattos; 2006: Frank Olinsky; 2007: Frank Rocco;
2008: AdamsMorioka; 2011: Ben Ross; 2012: Fred Seibert;
2013: Robles!; 2014: Eric Junker; 2015: Ambar Del Moral;
2016: Ben Ross; 2017: Joey Ahlbum; 2018: xxxx; 2019: XXX;
2020: Drew Hodges; 2021: Ron Haywood Jones; 2022: Flip
Sarta; 2023: Juan Molinet (page 12)

MTV: Music Television
..........................................
Co-founder/Creative Director 1980-83: Fred Seibert
I'm honored to be considered a co-founder MTV: Music Television

of MTV. 14 months before launch, Bob Pittman, "One Small Step"
my boss at The Movie Channel, handed out 1981-85
the memo saying the company would be creating
MTV producer: Alan Goodman
"The Music Channel." Within minutes, I
marched into his office and asked –demanded?– MTV logo by
to be hired. Bob agreed and added it to Manhattan Design
my exisitng duties.
Buzzco Associates:
Director/illustrator:
While imagining everything that would become Candy Kugel
the "brand" –the words, the attitude, the visu- Producer: David Sameth
laization– my first professional animations were Executive Producer:
the dozens of 10-second network identifications Buzz Potamkin
for produced MTV.
Photograph Courtesy of NASA
In that year before we went on the air I asked
Bob whether he thought we'd have jingles, like
commercial hit radio.
“NO!”
Well, what then?
“How about we animate the logo?” Which, by

the way we didn’t have yet. There wasn't even a
final channel name.
“Think about an animated cow. Then a giant axe

chops it’s head off. The head falls to the ground
with the veins and blood oozing out. The cow
vomits. And in the vomit is our logo!”
Oh wow. We can do anything we want.
What a amazing way to start a television career.

..........................................
On May 5, 1980 I lucked into my starter job in

television –cable television– at Warner Amex
Satellite Entertainment Company (WASEC).
Within 30 days programming head Bob Pittman
started putting together the team to launch ‘The
Music Channel’ (the working name for what
eventually became MTV) and had me add to my
existing duties as the head of promotion for The
Movie Channel and work on music television
too.
Manhattan Design was a collective that includ-

ed Frank Olinsky, my oldest friend, and they
comped almost 500 sketches before we settled
on a logo that could be reinterpreted by anyone
who touched it. And, knowing nothing about
animation I paged through advertising trade
magazines pulling in demo reels from animators
across America, eventually deciding that indies
would be a better bet for a rock'n'roll channel.
MTV: Music Television network IDs 1981-1983

Production companies: Broadcast Arts, Washington
DC; Buzzco Associates, NY; (Colossal) Pictures, SF;
Tom Pomposello, NY.
When I was promoted as the first

MTV Vice President, my creative
partner and soon to be brother-in-
law, surprised me with an adapta-
tion of one of our Broadcast Arts
produced IDs, starring a clay Fred
getting run over by a roadster.
..........................................
Maybe I was the original creative director at

MTV, but my "training" was entirely in audio
production, making jazz, blues and pop mu-
sic. So, I enlisted my college radio buddy, Alan
Goodman, who'd been to film school to pro-
duce.
My DIY on-the-job training started with the

MTV animated network identifications and
eventually expanded to 1000 of these 10-second
films (see the following pages), each with a be-
ginning middle and end, and a soundtrack.
MTV: Music Television network IDs 1981-1983

Production companies: (Colossal) Pictures, SF; Eli
Noyes, NY; Manhattan Design & Jerry Lieberman
Productions, NY; Tom Pomposello, NY.

Nickelodeon
..........................................
Fred/Alan, Inc. 1984-1992
Alan Goodman and I split our gigs at MTV

Networks in April, 1983. Bob Pittman
immediately signed us up as consultants and
the next year gave us our first major network
assignment, Nickelodeon.
Nick had an innovative idea –all kid shows, sev-

en days a week– and good programs, but didn't
really understand how to organize a television
channel. What they uniquely puzzled out were
kids themselves. Which was good for us, be-
cause we grasped TV but not children. Yet.
Alan and I were able to turn them around from

the worst rated cable network to #1, where
they stayed for 25 years. But, the most fun we
had was with more animated IDs like we did at
MTV. Tom Corey and Scott Nash designed the
unique mutating orange logo for us, we added
some more indies to our production arsenal,
and for the next nine years we had an animated
ball.
Nickelodeon network IDs 1984-1992
Creative directors: Fred/Alan, NY

Alan Goodman & Fred Seibert
Producer: Tom Pomposello
Logo Design: Corey & Co., Boston
Music by Eugene Pitt & the Jive 5
Production companies:
Noyes & Laybourne, NY; Joey Ahlbum, NY;
Jerry Lieberman Productions; NY.

Nickelodeon
..........................................
Fred/Alan loved all the work we did for

Nickelodeon over the years. But I think our
very favorite pieces featured Eugene Pitt and
the Jive 5.
Nickelodeon network IDs

Music by Euguene Pitt & The Jive 5
1984-1992

Music by Eugene Pitt & the Jive 5
Production companies:
International Rocketship, Marv Newland,
Vancouver BC; David Lubell Productions;
Noyes & Laybourne, NY.
Nick-at-Nite
..........................................
In 1985, Nickelodeon had a new problem. Their

kids programming had become the #1 cable
network, but kids had to sleep sometime, so the
channel went dark at 8pm. Distributed across
America by (very costly) satellite transponders,
they lost their outers pace leasing tenant when
the A&E network got their own 24 hour chan-
nel.
Nick president Gerry Laybourne asked Fred/

Alan for a solution, and Alan and I pulled out
something we'd be thinking about for a few
years. If radio could have a successful "the great-
est hits of all time" format –old pop hits– why
couldn't TV? We'd turn "oh crap, reruns" into
"oh boy, RERUNS!" It worked like crazy, and
weeks after launch, Nick-at-Nite became the #2
adult rated channel on cable.
We turned to two of our favorite animation

friends, Kit Laybourne (author of the seminal
"The Animation Book") and his partner, award
winning filmmaker, Eli Noyes, to develop
dozens of stop motion gags for the network
identifications, each one with a surprise gag at
the end.
Nick-at-Nite network IDs 1985-1992

Production company: Noyes & Laybourne, NY.

Network Branding
..........................................
The innovative "branding" work Fred/Alan was

doing for MTV and Nickelodeon (we even in-
troduced the whole concept by media "brands"
to the industry) was attracting attention and
eventually, clients.
Lifetime was an attempt of the owners of the

flailing Cable Health Network to gain audience.
Before they stumbled on becoming the first
women's network, they tried "Talk Television."
We did our best, but the programmers stumbled
themselves with poor execution (it wasn't until
Fox News that "talk" found its footing on TV).
Fred/Alan partnered with music marketer Steve

Dessau to convince Seagram's Liquor to start
the Myers's Rum Video Network in rock clubs
that had added dozens of video screens to take
advantage of the trend that MTV started.
Lifetime network IDs 1984
Creative directors:
Production companies: Buzzco Associates, NY;
(Colossal) Pictures, SF; Broadcast Arts,
Washington DC.
.....
Myers's Rum Video Network 1987
Creative directors:
and Steve Dessau
Logo Design: Arlen Schumer
Production companies: Charlex, NY; Joey
Ahlbum, NY; International Rocketship/Marv New-
land, Vancouver BC; Alan Goodman, NY.

VH-1: Video Hits One
..........................................
Fred/Alan, Inc.
VH1 has struggled for years for an identity, and

even more, for a successful programming for-
mat. Fred/Alan worked with them from their
launch in 1985, through at least three or four
failed iterations until Alan and I closed the
company in 1992.
The one purely hand drawn, 2D animation we

did forT them was in 1989. Fred/Alan creative
director Bill Burnett had a fantastic idea. The
target audience was baby boomers (like Bill,
Fred and Alan were) and one of the baby boom
media icons was the satire and humor publica-
tion MAD Magazine. Bill engaged their classic
comic illustrator Don Martin to storyboard a
VH1 commercial to a score that included the
last chord of The Beatles' masterpiece "A Day in
the Life."
Did it work? Creatively, that's a big "yes."

Ratings? Not so much. And so it goes.
VH1 television commercial 1989
Executive creative directors:

Writer/Creative director: Bill Burnett
Fred/Alan Producer: Tom Pomposello
Production company: The Ink Tank
The Ink Tank Executive Producer: JJ Sedelmaier
Director: Tony Eastman

Network Branding
..........................................
Fred/Alan, Inc.
For a quick minute in the late 1980s, Nickelode-

on's ad sales group could not sell Nick-at-Nite
advertising ("no one wants black and white
reruns!"), so they decided they'd promote them-
selves as a comedy network.
So, Alan and I brought our idea of TV oldies to

a broken down UHF channel in St.Cloud, Min-
nesota, and renamed Channel 47 "TV Heav-
en." We got more publicity in three weeks than
Nick-at-Nite got three years. Nick-at-Nite parent
MTV Networks threatened to fire us from all
their networks and we had to resign TV Heaven.
But not before we made some awesome station

identifications with our indie animation friends.
In 1990, MTV Networks revived the idea of

an all comedy network in a panic after HBO
launched the Comedy Channel. Fred/Alan con-
vinced MTVN to brand theirs as HA! The TV
Comedy Network, and we went to work.
(Neither The Comedy Channel or HA! succeeded

and they merged, Fred/Alan named the venture
"Comedy Central" and the rest is comedy
television history.)
Creative directors: Alan Goodman & Fred Seibert

Logo design: Noel Frankel
TV Heaven station identifications 1988

Production companies: International Rocketship,
Vancouver BC; Fred Mogubgub, NY.
.....
HA! network identifications 1990
Production companies: Lou Brooks & Jerry Lieberman,
NY; Charlex, NY; International Rocketship, Vancouver BC;
(Colossal) Pictures, SF; Marc Karzen, NY.
The End
..........................................
My obsession with the title cards from theatrical

cartoons continues right up until "The End."
Random! Cartoons 2008
(Top, clockwise from top left) "Girls on

the Go!" by Aliki Theofilopoulos Grafft;
"Bradwurst" by Jason Plapp and Angelo
di Nallo; " The Bronk & Bongo Show" by
Manny Galán & Alan Goodman; "Infinite
Goliath" by Mike Gray; "Flavio" by Mike
Milo; " The Finster Finster Show" by Jeff
DeGrandis.
(Middle) "6 Monsters"

by Alan Goodman & Fred Seibert.
(Bottom, clockwise from top left)

"Ratzafratz!" by Karl Toerge and Jim
Wyatt; "Sparkles & Gloom" by Melissa
Wolfe & Anne Walker; " Thom Cat" by
Mike Gray; "SamSquatch" by Adam Muto; "Gary
Guitar" by Bill Plympton; "Kyle +
Rosemary" by Jun Falkenstein.

Best of Original Cartoons 1981-2023

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The FredFilms

#2 Original Cartoon Shorts

#3 Original Cartoon Title Cards

#4 The Complete Frederator Postcards

#5 Wit and Wisdom in The Land of Ooo

#6 Original Cartoon Posters

#7 The Best of Original Cartoons

#8 The Art of Wubbzy

The Best of Original Cartoons

ChalkZone, The Fairly OddParents, Fanboy & Chum

Adventure Time, Courage the Cowardly Dog, Cow &

107 Facts, Bee and PuppyCat, Bravest Warriors,

All rights reserved, including the right to reproduce

6th edition September 2023

Fred Seibert is one of the leading

He was a co-founder and the first creative director of

Fred was the first investor in Tumblr (acquired by

This book is dedicated to

Thank you, sincerely,

I’m a fan. And just like you, I’m a fan of a lot of

The great thing about fandom is the search for

Hopefully, as you page through this “best of ” you’ll

I joke –but not really– that I’m incapable of

It’s in cable television, the cartoon business and

I got into cartoons at Hanna-Barbera while the

In streaming, I was hit with the same feeling as the

Here's what these virtuosos let me do. I try and be

Fred still loves you,

10 BEST OF ORIGINAL CARTOONS

Of course, being remarkable is all about you.

"Frederator loves you" has been more than just

"You." First and foremost it's our audiences,

"You." All the folks that work in and around

And "you." The world class creators –mostly

I think it's fair to say that without "you" there

Twenty years seems like both a long time and

Frederator loves you all, Fred Seibert

PRODUCED BY FRED SEIBERT 1981-2023 13

Kevin Kolde is the visionary colleague who

Once the dramatic rights for Castlevania were

Promotional poster design & illustration

18 BEST OF ORIGINAL CARTOONS

"It is with a somewhat heavy heart that I

"The Perfect Show For Fans And

"Castlevania not only brings the fan-favorite

"...the series’ creators have gone above and

Frederator Postcard Series 40.2 & 40.3 2017

20 BEST OF ORIGINAL CARTOONS

The richly orchestral scoring by Trevor Morris

“…this is pure atmospheric delight... a score

Vinyl soundtrack, Lakeshore Records 2017

22 BEST OF ORIGINAL CARTOONS

"We bloody love the Castlevania anime that's

"Season 2, the best video game adaptation ever."

Netflix 2nd season poster August 30, 2018

24 BEST OF ORIGINAL CARTOONS

The 2020 Castlevania Season 3

Frederator Postcard Series 40.6 & 40.7 2020

26 BEST OF ORIGINAL CARTOONS

Netflix dropped the next chapter in

Wait. What? The Castlevania universe?!

From the first time Kevin talked about

With head writer Clive Bradley and

Netflix Castlevania: Nocture posters 2023