An enormous horse carries seven people in comfortable seats with cushy backs. He is led by a helpful cowboy (note the hat and spurs) whose expressive lasso guides the beast and covers the vehicle. The people inside have a range of emotional responses.

“It’s a grand old rag,” wrote Irving Berlin, but nobody wanted to sing it that way, so eventually he changed it to “grand old flag.” Freddy Age Seven provides a 9/11 patriotic montage with a giant Star Spangled Banner waving in the sky –okay, so

Moseyin’ along in the wild west, this stick-figure settler encourages his stick-figure horse to keep it movin’. The stick figure wheels keep turnin’ over, bumpin’ along on the long line of holes in the printer paper, I mean territory. The stick-figure sky is bright blue,

As John Ruskin says in his 1857 work The Elements of Drawing, “Everything that you can see in the world around you presents itself to your eyes only as an arrangement of patches of different colours variously shaded.” To the eye of a painter, everything

Freddy Age Seven turns his attention to the Brighty mythos, and decides that no straightforward illustration can capture it. Instead he approaches this epic with an entire suite of artistic approaches. His first attempt at communicating the power of Marguerite Henry’s Brighty of the Grand