Bob Crawford Interview on Pulin 4 Jazz 12/13/15 3 PM EST

Hi folks,

For those who may be interested I will be interviewed on the Rich Pulin Jazz Show (Pulin 4 Jazz) accessible at from 3-4 PM EST on Sunday, December 13, 2015.

We’ll be discussing my John Coltrane/Pat Martino/Nicholas Slonimsky music theory book “Symmetric Cycles”, as well as my musical history and compositions. Several of my Jazz tunes will also be played on the show from my 2 albums BOB CRAWFORD/RMCO MUSIC presents: CONTEMPORARY JAZZ CROSSOVER INSTRUMENTALS Vol. 1 & 2… both available at AmazonMP3, Bandcamp, iTunes, Google Play, & Spotify.

The show is heard LIVE & in real time in 196 countries AND archived for 24/7 usage at: All proceeds go to The Early Childhood Music Education Foundation, spreading the word that young children are the ultimate benefactors of the program’s efforts by exposing them to Jazz and keeping America’s original classical music alive.

Please tune in and let me know what you think…All comments are welcomed…

Best regards,


Bob Crawford



New York, NY, USA

Bob Crawford/RMCO MUSIC YouTube Playlists:



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We start with nothing. We start with John Lasseter in the room because John is one of those people who can just sit there and pour ideas out on the table. He'll have three, four criteria—sometimes just one or just a crumb of an idea—for a character, which is the best because then you can go off in any direction you want. The first two or three months is just plastering the walls with photo references, spending a lot of time on Google and finding the full range of who the character is. And it's kind of up to me, as well-there's a lot of creative freedom. We distill down from week after week of art reviews, "We like these five cars," and then we trim them down to two. And then I just start sketching. Honestly, I'm sketching throughout the whole thing. Something I draw in that meantime might become something.

We had less time on this one then we did on the first, so to get them out the door to Modeling and then Articulation and then Animation, I'd do a lot of simple character studies. For Finn McMissile, I really wanted to nail that pontoon on him and that understated fin. The sideview really worked for him. John really became attached to that sideview and it spawned the rest of him; from there, we worked on the front view, the back view, it blossomed into a 3D graphic. I was doing a lot of three-quarter studies to look at the grill, the front clip, keeping in mind that he has all this spy gear we've got to stow. I was thinking, "Oh, those bumperettes will be a great place to store a grappling hook." John planted the idea of grappling hooks in me, so I was always thinking about them.

With Francesco, our Italian Formula 1 racer, all of his suspension is revealed, so we spent a lot of time on his bodywork. We honed him down and massaged his form because those cars are beautiful and we wanted ours to be, too. We sculpted him and that gave us an impression of how much of his suspension is going to show. Then we realized that when he takes off his front wheels, he's stretched like a rubber band and it's really ugly. Something like that took about two months to figure out what was going on—we developed a whole telescoping arm that had a pivot point. Francesco and Finn were the standouts: Francesco because all of his parts are exposed and Finn because his spy gear has to come out of somewhere.

Then Pixar does what's called a "sketch model" with just simple contour lines defining the parameters of the car: the beltline, the sill, the greenhouse. Then we start laying in the geometry between those lines, then there's a whole other area of color and shade and paint and metallics, carbon fibers—all of these textures. Then the articulation: we're putting a skeleton inside this thing and making a driving system that allows them to gesture and the tires to give like they're inflated and reacting to surfaces. All these processes become intermingled. The animators might get a hold of an early model and start pushing the suspension and doing a rough acting pass. We might get an email from them saying, "Oh, the suspension broke when the car rolled to the side." So we have to go back in and fix that-we have a number of fixes throughout the process-and by the time it makes it back around to the animators, it's a pretty robust model at that point.