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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Column Writing Portfolio | Kristina Urquhart, Editor - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>The cost of cloud</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Feature Writing Portfolio | Kristina Urquhart - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Master Class | Kristina Urquhart</image:title>
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      <image:title>Master Class | Kristina Urquhart</image:title>
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      <image:title>Master Class | Kristina Urquhart</image:title>
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      <image:title>Master Class | Kristina Urquhart</image:title>
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      <image:title>Master Class | Kristina Urquhart</image:title>
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      <image:title>Master Class | Kristina Urquhart</image:title>
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      <image:title>Punk Rock Kids | Kristina Urquhart</image:title>
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      <image:title>Punk Rock Kids | Kristina Urquhart</image:title>
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      <image:title>Punk Rock Kids | Kristina Urquhart</image:title>
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      <image:title>Chain Reaction | Kristina Urquhart</image:title>
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      <image:title>Higher Learning | Kristina Urquhart</image:title>
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      <image:title>Higher Learning | Kristina Urquhart</image:title>
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      <image:title>Higher Learning | Kristina Urquhart</image:title>
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      <image:title>Higher Learning | Kristina Urquhart</image:title>
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      <image:title>Canadian Kraft Paper Turns the Page | Kristina Urquhart</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1557975410544-JB7CXS4TCPKJ4EVX9VBM/jan2019-ckp-2.jpg</image:loc>
      <image:title>Canadian Kraft Paper Turns the Page | Kristina Urquhart</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1557975301302-HO4HYA56WQU57QNQVJ9O/jan2019-ckp-1.jpg</image:loc>
      <image:title>Canadian Kraft Paper Turns the Page | Kristina Urquhart</image:title>
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      <image:title>Canadian Kraft Paper Turns the Page | Kristina Urquhart</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1573189827298-GP4YMPWJKAX98JFMGISW/spring2018-bread1.jpg</image:loc>
      <image:title>Behind The Breadwinner | Kristina Urquhart</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1573190875436-TBN1B52JQ335APLPW4N4/spring2018-bread2.jpg</image:loc>
      <image:title>Behind The Breadwinner | Kristina Urquhart</image:title>
      <image:caption>Art director Reza Riahi worked with French artist Janis Aussel on the paper cutout concept for the “story world” arc. They initially wanted to use real paper, and thoroughly tested the concept (see below) with rostrum cameras before settling on a digital treatment that would mimic the effect (see opposite page). Says Duffy, “It was way beyond the budget of the film. But it was all animated in the sense of paper cutouts, with no digital manipulation. We animated it in a way that could technically be done in paper—if you had 20 years!” Toronto’s Guru Studio then added the lighting in post-production, giving the paper a 3D effect. “Guru really excelled at creating these shadows and depth in the story world sequences,” says Rosen. “When we first get them, they’re just flat, 2D scenes. But Guru created almost a stage play with them and really upped the drama. They were using light almost as a character.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1573190919154-T4E5JTDZ0CQ99K7PQX1D/spring2018-bread3.jpg</image:loc>
      <image:title>Behind The Breadwinner | Kristina Urquhart</image:title>
      <image:caption>The scene where Parvana’s mother, Fattema, is beaten on a deserted street for walking in public without her husband was challenging for Duffy to art direct. “You’re caught on one hand trying to deal with the seriousness of the scene, and on a day-to-day basis, your job is to make backgrounds,” he says. “There was difficulty in trying to maintain that tone, where you are just trying to do right by the story and not get too carried away trying to make pretty pictures.” Despite the serious nature of many of the scenes in the “real world” storyline, there are flashes of joy, too. “There are those moments where you’ve got to give people a break, like when they go to the candy factory,” says Duffy (above right). “That was a challenge because it needed to feel exciting, almost like a Willy Wonka experience—but relatively speaking. Compared to what the rest of Parvana’s days have been like, this is a great day in the candy factory.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1573191222633-HP279MIV6JZ6S2DN9XTF/spring2018-bread4.jpg</image:loc>
      <image:title>Behind The Breadwinner | Kristina Urquhart</image:title>
      <image:caption>More than 300 people in three countries worked on the production of the film. “We use a program called Shotgun to allow people to track every single shot,” says Andrew Rosen, partner at Aircraft Pictures. Cartoon Saloon art director Ciaran Duffy, who worked on the “real world,” says it was a chance to show physical depth in the animation, which Guru Studio worked on adding in post-production. “We have the mountains far away and then the city,” he notes. “We had multiple layers—smog and dust in the air, and parallax in the camera movement to make everything feel deep.” “We wanted to have a very stripped-down, Afghan sound to the music,” notes Rosen. Production limitations meant they couldn’t hire a composer from Afghanistan, but Rosen says they were thrilled to sign Canadian composer Mychael Danna, who won an Oscar for his original score in 2012’s Life of Pi, and his composer-brother Jeff. “The Dannas did a great job of seeking out as many Afghans as they could to play the back-end instruments in this small ensemble,” says Rosen. “When we first went to the mix room and heard that soundtrack, we were blown away by the intensity of it.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1573191283020-FE3MOX2LHYVPNSYG6OI9/spring2018-bread5.jpg</image:loc>
      <image:title>Behind The Breadwinner | Kristina Urquhart</image:title>
      <image:caption>Duffy started the “real world” backgrounds with playful buildings leaning in all directions (right) before turning to a more realistic aesthetic. “That’s a habit of people in animation—to have some fun with that kind of thing. But if you do that, then you end up with an image that suggests that there’s no gravity. We needed to undo that,” he says. “For example, there’s a scene where Parvana falls down a set of stairs when she’s running. You need to feel there is nothing funny about it.” Early concepts depicted the Taliban characters (right) in black and white, but the art directors switched them to shades of grey after producers consulted with their team of Afghan advisors. The group noted that in 2001—the year the film takes place—the Taliban, despite its fundamentalist stronghold, had restored some order to Afghanistan after years of civil war, giving civilians mixed feelings about its presence.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1573189827298-GP4YMPWJKAX98JFMGISW/spring2018-bread1.jpg</image:loc>
      <image:title>Behind The Breadwinner | Kristina Urquhart</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1573190875436-TBN1B52JQ335APLPW4N4/spring2018-bread2.jpg</image:loc>
      <image:title>Behind The Breadwinner | Kristina Urquhart</image:title>
      <image:caption>Art director Reza Riahi worked with French artist Janis Aussel on the paper cutout concept for the “story world” arc. They initially wanted to use real paper, and thoroughly tested the concept (see below) with rostrum cameras before settling on a digital treatment that would mimic the effect (see opposite page). Says Duffy, “It was way beyond the budget of the film. But it was all animated in the sense of paper cutouts, with no digital manipulation. We animated it in a way that could technically be done in paper—if you had 20 years!” Toronto’s Guru Studio then added the lighting in post-production, giving the paper a 3D effect. “Guru really excelled at creating these shadows and depth in the story world sequences,” says Rosen. “When we first get them, they’re just flat, 2D scenes. But Guru created almost a stage play with them and really upped the drama. They were using light almost as a character.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1573190919154-T4E5JTDZ0CQ99K7PQX1D/spring2018-bread3.jpg</image:loc>
      <image:title>Behind The Breadwinner | Kristina Urquhart</image:title>
      <image:caption>The scene where Parvana’s mother, Fattema, is beaten on a deserted street for walking in public without her husband was challenging for Duffy to art direct. “You’re caught on one hand trying to deal with the seriousness of the scene, and on a day-to-day basis, your job is to make backgrounds,” he says. “There was difficulty in trying to maintain that tone, where you are just trying to do right by the story and not get too carried away trying to make pretty pictures.” Despite the serious nature of many of the scenes in the “real world” storyline, there are flashes of joy, too. “There are those moments where you’ve got to give people a break, like when they go to the candy factory,” says Duffy (above right). “That was a challenge because it needed to feel exciting, almost like a Willy Wonka experience—but relatively speaking. Compared to what the rest of Parvana’s days have been like, this is a great day in the candy factory.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1573191222633-HP279MIV6JZ6S2DN9XTF/spring2018-bread4.jpg</image:loc>
      <image:title>Behind The Breadwinner | Kristina Urquhart</image:title>
      <image:caption>More than 300 people in three countries worked on the production of the film. “We use a program called Shotgun to allow people to track every single shot,” says Andrew Rosen, partner at Aircraft Pictures. Cartoon Saloon art director Ciaran Duffy, who worked on the “real world,” says it was a chance to show physical depth in the animation, which Guru Studio worked on adding in post-production. “We have the mountains far away and then the city,” he notes. “We had multiple layers—smog and dust in the air, and parallax in the camera movement to make everything feel deep.” “We wanted to have a very stripped-down, Afghan sound to the music,” notes Rosen. Production limitations meant they couldn’t hire a composer from Afghanistan, but Rosen says they were thrilled to sign Canadian composer Mychael Danna, who won an Oscar for his original score in 2012’s Life of Pi, and his composer-brother Jeff. “The Dannas did a great job of seeking out as many Afghans as they could to play the back-end instruments in this small ensemble,” says Rosen. “When we first went to the mix room and heard that soundtrack, we were blown away by the intensity of it.”</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5b46756b55b02cea2a643186/1573191283020-FE3MOX2LHYVPNSYG6OI9/spring2018-bread5.jpg</image:loc>
      <image:title>Behind The Breadwinner | Kristina Urquhart</image:title>
      <image:caption>Duffy started the “real world” backgrounds with playful buildings leaning in all directions (right) before turning to a more realistic aesthetic. “That’s a habit of people in animation—to have some fun with that kind of thing. But if you do that, then you end up with an image that suggests that there’s no gravity. We needed to undo that,” he says. “For example, there’s a scene where Parvana falls down a set of stairs when she’s running. You need to feel there is nothing funny about it.” Early concepts depicted the Taliban characters (right) in black and white, but the art directors switched them to shades of grey after producers consulted with their team of Afghan advisors. The group noted that in 2001—the year the film takes place—the Taliban, despite its fundamentalist stronghold, had restored some order to Afghanistan after years of civil war, giving civilians mixed feelings about its presence.</image:caption>
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      <image:title>Builders and Dreamers | Kristina Urquhart</image:title>
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      <image:title>Builders and Dreamers | Kristina Urquhart</image:title>
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      <image:title>Builders and Dreamers | Kristina Urquhart</image:title>
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