Bibliography

ALISON, J., 2010. The Surreal House. London: Barbican Centre.

BURNETT, K., 2007. UK Design for Performance Collaboration. London: The Society of British Theatre Designers.

FARGO, L., 2002. Windows from Bergdorf Goodman Dreams Through the Glass. New York: Assouline.

KUL-WANT, C., and PIERO, 2010. Introducing Aesthetics. London: Icon Books.

MINGUET, J.M., ed., 2008. This is Visual Merchandising. Barcelona: Monsa.

PAWSON, J., 1996. Minimum. New York: Phaidon

MICKLEWRIGHT, K. 2005. Drawing: Mastering the Language of Visual Expression. London: Laurence King Publishing.

ODDEY, A. & WHITE, CHRISTINE., 2006. The Potentials of Spaces: The Theory and Practice of Sceography and Performance. Bristol: Intellect Books

KING, NICOLA, 2000. Memory, Narrative, Identity: Remembering the self. 2000. Edinburgh: Edinburgh University Press.

BACHELARD, GASTON., 1994. The Poetics of Space: The Classic Look at How We Experience Intimate Places. 1994. Boston: Beacon Press.

KAYE, NICK., 2007, Multi-Media: Video Installation Performance. 2007. New York: Routledge.

PAUL, CHRISTIANE., 2003. Digital Art. 2003. London: Thames & Hudson Ltd.

HAMLYN, NICKY., 2003. Film Art Phenomena. 2003. London: British Film Institute.

ARNHEIM, R. 1974. Art and Visual Perception – A Psychology of the Creative Eye. United States: University of California Press.

KRAUSS, R.E. 1993. The Optical Unconscious. United States:

Massachusetts Institute of Technology

DEMBER, W.N. 1964. Visual Perception: The Nineteenth Century. United

States: John Wiley & Sons, Inc.

LUCKIESH, M. 1965. Visual Illusions – Their Causes, Characteristics &

Applications. New York: Dover Publications, Inc.

CHANTAL, 2007. Tokujin Yoshioka Installation at Design Miami [online]. Available at: http://cubeme.com/blog/2007/12/10/tokujin-yoshioka-installation-at-design-miami/  [Accessed: ].
FOSKOLOU, A., 2010. Tokujin Yoshioka for Maison HERMES Japan: Designed to blow our minds [online]. Available at:
http://www.yatzer.com/Tokujin-Yoshioka-for-Maison-HERMES-Japan-Designed-to-blow-our-minds [Accessed: ].
HOCKNEY, D., 2004. [online]. Available at: http://www.hockneypictures.com/about.php
KRZYKOWSKI, M., 2008. Secon Nature by Tokujin Yoshioka [online]. Available at http://www.dezeen.com/2008/10/30/second-nature-by-tokujin-yoshioka/ [Accessed: ].
LYONS, N., 2009. Maison Hermes Windows Display by Tokujin Yoshioka [online].     Available at: http://www.dezeen.com/2009/12/07/maison-hermes-window-display-by-tokujin-yoshioka/ [Accessed: ].
MAKI, T., 2010 [online]. Available at: http://www.teemumaki.com/index.html

Chanel store at Ginza [online]. Available at:

http://www.youtube.com/watch?v=7pA5RESEaOQ [Accessed: ]

Louis Vuitton 5th Ave show window [online]. Available at:

http://www.youtube.com/watch?v=XHfYhYPbV-A [Accessed: ]

Hermes Window Display [online]. Available at:

http://www.youtube.com/watch?v=pOAjYT8W7PQ [Accessed: ]

Projection interactive boutique Chanel à Paris [online]. Available at:

http://www.youtube.com/watch?v=CLD1wVbcD8w [Accessed: ].

Elle Macpherson Intimates – The Interactive Storefront [online]. Available at:

http://www.youtube.com/watch?v=kL-QXXycciQ [Accessed: ].

Cinnamon Chasers – Luv Deluxe [online]. Available at:

http://www.vimeo.com/6540668 [Accessed: ]

Susie J Lee – Shadow Playing [online]. Available at:

 http://www.vimeo.com/2976968 [Accessed: ]

Sky [online]. Available at:

http://www.vimeo.com/8951807 [Accessed: ]

Flux [online]. Available at:

http://www.vimeo.com/15395471 [Accessed: ]

Nowhere Near Here [online]. Available at:

http://vimeo.com/17087679 [Accessed: ]

Outside the Box [online]. Available at:

http://vimeo.com/11376962  [Accessed: ]

The s.a. Project, 2010. [online]. Available at:

http://thesaproject.wordpress.com/ [Accessed: ]

Hast – O – Neest, centre for traditional art and culture, 2010. [online]. Available at:

http://hast-o-neest.blogspot.com/ [Accessed: ]

What is Wabi-Sabi? [online]. Available at:

http://nobleharbor.com/tea/chado/WhatIsWabiSabi.htm

VJ Theory.net[online]. Available at: http://www.vjtheory.net/ [Accessed: ]

The Story of Light[online]. Available at: http://vimeo.com/15872540 [Accessed: ]

Loss Layers[online]. Available at: http://vimeo.com/16719342 [Accessed: ]

Inject[online]. Available at: http://vimeo.com/15948891 [Accessed: ]

The Video Art History Archive[online]. Available at: http://www.arthistoryarchive.com/arthistory/videoart/ [Accessed: ]

Edyta Stepien[online]. Available at: http://edytastepien.com/ [Accessed: ]

Bill Viola – Ocean without a Shore  - Venice Biennale 2007[online]. Available at: http://www.youtube.com/watch?v=6-V7in9LObI&feature=related

Bill Viola – Official Website[online]. Available at: http://www.billviola.com/ [Accessed:]

Jim Campbell[online]. Available at: http://www.jimcampbell.tv/ [Accessed:]

The Art of Projection| Media Art By Students[online]. Available at: http://margaretnoble.net/educator/the-art-of-projection/ [Accessed:]

guardian.co.uk[online].Availableat:http://www.guardian.co.uk/artanddesign/2005/nov/04/turnerprize2005.turnerprize [Accessed:]

CHANG/PYGOYA, RODNEY., Correlations between 20^th Century Art and Digital Art[online]. Available at: http://www.lastplace.com/digiartmovement.htm [Accessed:]

ascent: 

yoga for an inspired life[online]. Available at: http://www.ascentmagazine.com/articles.aspx?articleID=197&page=read&subpage=past&issueID=30 [Accessed:]

time displacement experimental video[online]. Available at: http://www.youtube.com/watch?v=I2MsDogV4g4&feature=related [Accessed]

Saw J. T. 2002. Design Notes [online]. Available at:

http://daphne.palomar.edu/design/space2.html. [Accessed: ]

Zamora, A. 2006. Scientific Psychic [online]. Available at: http://www.scientificpsychic.com/graphics/

Kuritz, P. The Making of Theatre History [online]. Available at:

http://books.google.com/books?id=cS6JV4Z27DoC&pg=PA160&lpg=PA160&dq=perspective+and+spaces+in+theatre&source=bl&ots=f3opVj0kC-&sig=CQBmHGJidr7KH3G3WAYfCiQiSM4&hl=en&ei=IPQpTqHBB9O5hAfplbHiCw&sa=X&oi=book_result&ct=result&resnum=6&ved=0CDsQ6AEwBTge#v=onepage&q=perspective%20and%20spaces%20in%20theatre&f=false

Museum of Childhood [online]. Available at:

http://www.vam.ac.uk/moc/collections/toys/toy_theatre/index.html

The Richard Balzer Collection, 2007. Available at:

http://www.dickbalzer.com/Panoramas_Dioramas.298.0.html

Horton, S. R. Where They Having Fun Yet: Victorian Optical Gadgetry, Modernist Selves [online]. Available at: http://publishing.cdlib.org/ucpressebooks/view?docId=ft296nb16b&chunk.id=d0e554&toc.id=&brand=ucpress

Poulter R. 2007. Robert Poulter’s New Model Theatre – Eidophusikon [online]. Available at: http://www.newmodeltheatre.co.uk/eidophusikon.html

EDM Studio 2006-2007. Eidophusikon [online]. Available at:

http://www.edmstudio.com/eidophusikon/index.html

Hokusai, A. 1994-2010. Available at:http://andreas.com/hokusai.html

http://en.wikipedia.org/wiki/Trompe-l'œil

Saturday Art: Trompe l’oeuil Frecsco by Andrea Pozzo, Jezuit Church, Vienna. Available at: http://my.firedoglake.com/karin/2011/04/09/saturday-art-trompe-loeuil-fresco-by-andrea-pozzo-jesuit-church-vienna/

http://en.wikipedia.org/wiki/Japanese_painting

Pioch, N. 2002. Art of the Edo Period [online]. Available at:

http://www.ibiblio.org/wm/paint/tl/japan/edo.html

Edo Peiod. Available at: http://www.japan-guide.com/e/e2128.html

Delahunt M. 1996-2010. Edo Period or Edo Era [online]. Available at:

http://www.artlex.com/ArtLex/e/edo.html

Tokugava Gallery [online]. Available at: http://tokugawagallery.com/history.html

Ukiyo-e [online]. Available at: http://library.thinkquest.org/trio/TTQ05064/Templates/ukiyo-e.htm

Kay, N. 2006-2010. 15 Forced Perspective Techniques Example [online]. Available at:

http://www.digital-photography-school.com/forced-perspective

http://en.wikipedia.org/wiki/Forced_perspective

50+ Forced Perspective: Just Incredible Photography. 2010. Available at:

http://desigg.com/forced-perspective-just-incredible-photography/

Ninomiya, K. 1999-2011. What is Forced Perspective [online]. Available at:

http://www.ehow.com/about_4588026_what-forced-perspective.html

Wilkins, R. 1999-2011. What is Forced Perspective [online]. Available at:

http://www.ehow.com/video_4973371_forced-perspective_.html

Illusions [online]. Available at:

http://www.ul.ie/~mearsa/9519211/illusion.htm

Optical Illusions of Brightness and Contrast [online]. Available at:

http://www.visualillusion.net/Chap08/Page01.php

Escher, M.C. Pictures [online]. Available at:

http://www.mcescher.com/Gallery/gallery.htm

A Father to Impossible Figures [online]. Available at:

http://butdoesitfloat.com/45963/A-father-to-impossible-figures

http://www.newworldencyclopedia.org/entry/Ames_room

Depth Perception. Available at:

http://library.thinkquest.org/27066/depth/nlindex.html

Introduction to Perception [online]. Available at:

http://www.sapdesignguild.org/resources/optical_illusions/intro_depth.html

Depth Cues [online]. Available at:

http://psych.hanover.edu/krantz/art/cues.html

Ames Room. 1997. Available at:

http://www.psychologie.tu-dresden.de/i1/kaw/diverses%20Material/www.illusionworks.com/html/ames_room.html

BBC Brain Story. 2002. The Room Illusion. Available at:

http://www.youtube.com/watch?v=6aJlX0AEWys&feature=related

Strange View Optical Illusion. 2009. Available at:

http://www.youtube.com/watch?v=2LtJn83aM1w&feature=fvwrel

Lines of Confusion Illusion. Available at:

http://www.youtube.com/watch?v=llonA5RtpUM&feature=relmfu

Crazy Mugs Illusion. Available at:

http://www.youtube.com/watch?v=87OclSF3NCY&feature=fvwrel

Understanding Optical Illusions[online]. Available at:

http://www.visualillusion.net/Intro/Page03.php [Accessed: ]

2D Design Notes: ART 104 Design and Composition[online]. Available at:

http://daphne.palomar.edu/design/space2.html [Accessed: ]

Learning Agreement

MA Learning Agreement

Pathway:   MA Design for Film Television and Events

Title:          Illusions: Shattered or Real

Aim

The aim of the project is to develop a space that explores techniques employed in set design to create a sense of false perception and illusion amongst audiences.

Objective

To apply critical research and analysis to prove that perspective, distortion, depth and light can be used to develop a sense of belief and alter visual perception

Brief description of your project

My project would be a prototype model of an Eidophusikon, which is a piece of entertainment art, no longer extant but considered as one of the early form of moving image. The Eidophusikon utilizes controlled lighting, moving three – dimensional imitation of natural phenomena. These scenes are viewed through a proscenium with the audience viewing from a fixed line of vision.

The original Eidophusikon was an eighteenth century attempt at virtual reality. It employed the techniques of linear perspective, diorama, and special effects using lights, gauzes, coloured glass, moving objects and smoke to create spectacular scenic effects.

My model of the Eidophusikon would be based on the same principle of perspective but the content would be designed according to the construction technique of Toy Theatres with a television screen serving as the backdrop of the scenario. Hence proposing a contemporary alternative to the eighteenth century entertainment forms.

Rationale

With a background in event design, i feel this project is a good opportunity to explore the notion of spatial design with reference to set design techniques. By developing a model theatre entertainment piece, i would not only challenge my creative boundaries as a designer but also learn about how spaces are put together and sets are designed in terms of placement and visual content.  

·     Can the technique of depth and distortion be used to create realities on stage?

·     How important is placement with reference to line of vision in rendering an image complete?

·     Can flat surfaces be used to create three-dimensional scenarios on stage?

·     Should direct attempts and a deeper understanding of spaces and imagery be inculcated in design   for media to better deal with and cater to the thinking patterns of audiences?

·     Can illusions incite a sense of wonder and curiosity amongst audiences?

Content

Scenic design, also known as scenography, stage design, set design or production design, is the creation of theatrical as well as film and television scenery. It is concerned with the artistic composition of the stage for a play or a performance with regard to props, shapes, colours and making the concept visually appealing to audiences.

On completion, my project would be a space based on a yearlong research on elements of spatial design, audience perception, perspective, depth of vision, construction of toy theatres and dioramas and would aim to prove that set design techniques can be used to create a sense of false perception and illusion amongst audiences hence triggering a sense of awe and wonder.

Through a process that involves technical drawings, model making and free hand sketching to design contents of the space, I plan to create a large-scale model theatre with a proscenium and line of vision. The contents of the model would depict a natural happening with the audience free to develop their own perception of the process.

Submission

My final submission would be a three dimensional space which would explore the dynamics and possibilities of creating a sense of false perception and illusion to build a sense of wonder and curiosity in audiences. I am currently maintaining an online reflective journal to write down my inspirations and assess my research progress. My audience would include all members of society as it deals with ‘Human Perception’ rather than focusing on a specific segment of society. On an academic level, I would like to bring forth the importance of social, psychological and experiential research in creating spaces for various audiences.  

Learning outcomes

o    Learning Goal 1: To be able to create a three dimensional space independently

      Learning Objective: To be able to create the space through      developing my personal style.

o    Learning Goal 2: Learn and develop proficiency over the principles of perspective scenery in set design.

    Learning Objective 2: To be able to achieve my realization process through mastering this skill.

o    Learning Goal 3: Learn various set design techniques like prop construction, lighting, visual projection, perspective development and be able to implement them to my project.

Learning Objective 3: Gain a sound knowledge of all the elements    involved, technical and conceptual, in the development of my project.

o    Learning Goal 4: To learn to create experiences through tangible spaces using structure, light, sound and video projection.

Learning Objective 4: To be successful in creating such a space and achieve audience reaction and appeal.

The Methodological Framework

The methodology of my work is based of practice-based research in which a project is realised and used as a basis for reflective learning. The study consists of the following qualitative research:

Research on perspective, optical and visual illusions, construction techniques in toy theatres, visual art in set design and performance in relation to audience perception. Research would be done via websites, books, e-journals, essays on elements and psychology of space, narrative, role of memory and perception in creating experiences. Also, through experimentation with visual projection techniques, lighting design, model making and conceptual sketches.

I will use the above methodology through a study of spaces created for various purposes including:

·      Theatre/Stage

·      Film Sets

·      Television Sets

·      Events

·      Exhibitions

·      Shop Displays

·      Video Installations

·      Projections

·      Digital Art

·      Performance art

Resource implications

·     Name your Supervisor(s): Dave Allen and Jayne Harvey

·     Studio space, construction workshop, A/V production facilities, materials, lights, exhibition space to exhibit my final project. 

Sunday in the park with George

The idea to make the design more contemporary came from the production of ‘Sunday in the park with George’, a musical inspired by the painting, ‘A Sunday Afternoon on the island of La Grande Jatte’.  The production was unique at the time it was conceived as it involved theatrical set design techniques that were yet to be fully explored. When Georges Seurat made the painting more than a hundred years ago, it was a novel experience for his audiences as he took the experience of the art of painting to a new perspective and gave birth to pointillism which eventually led to the concept of pixels in photographs. The musical was first conceived by Stephan Sondheim and James Lapine in 1984 also brought similar challenges to theatre design.

The entire production was designed with the painting projected as the backdrop but without the characters. The characters of the painting were transformed and moved out of the canvas and depicted as real people on stage. The actors would remain still as if they are frozen in a painted scene and move in accordance to the script to act out the story. The design when viewed from an audience point of view gave the impression of a painting being acted out. It was a visual spectacle that used projection and light to carry on a story. The projection panels were perfectly in sync, interacting with the actors making the production literally glide across the stage. There have been many productions of the musical since the first and they have all taken the design a step ahead but the idea remains the same.

To me, it was an amazing example of production design as it combined elements of live performance with set design to create an illusion of a painting on stage; almost like a happening or an event. The fact that the actors on stage stood in strategic positions on stage so that perspective could be used to give a three dimensional feel to an otherwise two dimensional piece of work was fascinating. My attempt at using a television screen as a backdrop was an effort to emulate the same technique on a smaller scale. The contents of my model, if made on a large scale could have a similar effect if the scene playing on the television screen is projected onto a wall with the layered panels (acting as stage props or actors) in front to create a single frame for an actual production or live event. The entire design when viewed through the proscenium would give the illusion of a single image with the sea and rocks on the beach. 

Reference:
broadwayworld.com. 2011. 5th Avenue's Sunday in the Park with George [online]. Available at:http://seattle.broadwayworld.com/printcolumn.php?id=51094. [Accessed: 10 June 2011] 
Sunday in the Park with George Highlights. 2009. Available at: http://www.youtube.com/watch?v=raQgy2dDCYw&feature=related

Project Realisation

My final project realisation is a space developed on the principles of perspective used in set design to create a sense of belief amongst audiences. The project will be a large-scale model of an Eidophusikon, which is a piece of entertainment art no longer extant but considered as one of the early forms of moving image. The version that I developed was an interpretation of the original. I incorporated certain elements into the process that made the design a little different and contemporary.

The original Eidophusikon was an eighteenth century attempt at virtual reality. It employed the techniques of linear perspective, diorama, and special effects using lights, gauzes, coloured glass, moving objects and smoke to create spectacular scenic effects. The objects inside the Eidophusikon were placed at strategic distance from one another so that when viewed from a certain angle they fell in place giving the illusion of one singular image. The image was then given movement to create the effect of an actual scene happening. I have followed the same pattern of construction and used linear and atmospheric perspective to depict a natural phenomena i.e. a view of the sun setting in the horizon from the beach which when viewed from the proscenium gave the impression of a single frame. The frame will give an illusion of a picture physically created on stage using an actual model set.

However, the way the model will be designed is different from the original Eidophusikon. Unlike the three-dimensional diorama used to create the content of the stage in the original Eidophusikons, I have modeled my scenery over the technique used in toy theatres in which scenes and characters were printed on cardboard. They were either in black and white or coloured. In Victorian times they were sold for ‘a penny plain and two pence for coloured ones’. The printed sheets were pasted onto thin cardboards, cut out and then assembled in layers on a small, toy stage to act out a play.

The design of my model is developed in a similar manner. I have sketched the scenery in a stylized style on card board, cut it out and mounted it on foam board to create various layers which will then be placed at various points in front of one another in linear perspective to create an image. The way I sketched the panels was influenced by Japanese Ukiyo – e paintings and woodblock prints of the Edo period that depicted landscapes in odd angles and shapes with emphasis on flat planes and strong linear outlines.

In the original Eidophusikon, the backdrop to the three – dimensional scene was made on stretched, painted canvas which was moved and replaced in a manner similar to a slide show as the scene progressed or changed. However, the backdrop of my model is a television screen playing a video of the sun setting over a sea. The video will play on a loop so the entire image would last for the duration of the sun setting before playing the same sequence again. 

Reference: 

EDM Studio 2006-2007. Eidophusikon [online]. Available at:

http://www.edmstudio.com/eidophusikon/index.html. [Accessed: 2 May 2011]

The Richard Balzer Collection, 2007. Available at:

http://www.dickbalzer.com/Panoramas_Dioramas.298.0.html.[Accessed: 2 May 2011]

Poulter R. 2007. Robert Poulter’s New Model Theatre – Eidophusikon [online]. Available at:

http://www.newmodeltheatre.co.uk/eidophusikon.html. [Accessed: 2 May 2011]

Influences and Techniques

There were some art techniques and artists that have influenced the way I intend to develop the contents of my model. Some of them are directly relevant as they contextualise the development but some are a source of inspiration in terms of how the eventual outcome could be enhanced or made different. The content would be created and visualised through a mixture of several artistic influences. 

Toy Theaters
Theatre was the main form of popular entertainment in the late 18th and early 19th centuries. Toy theatres became a popular form of family entertainment during the 19th century.


Toy theatres were usually constructed out of card and fitted onto a tabletop to be played with. The characters were printed on paper and card, attached to wooden sticks, and appeared on the stage by sliding in and out of slots on the stage floor. Different scenes and facades could be added to the basic set. Wealthy families often had a toy theatre custom-made.


They were originally created as souvenirs and advertisements for adult theatergoer’s and sold outside playhouses and vaudeville theatres. However, by mid nineteenth century, they were established as socially acceptable toys for middle- class children.


The sheets, which were produced with characters and scenery, came in different versions: cheaper ones in black and white or more expensive full-colour versions. The way in which they were created i.e. the cut outs representing actors frozen in action at steep angled, arms aloft and faces defiant, represented a stylized manner of drawing. The target-audiences were both adults and children.


The idea of the proscenium and using thin, cardboard layers to create depth on stage in a mini theatre was one of the main inspirations behind me using toy theatres as a source of inspiration. I will use a similar manner of construction to depict a scene inside my model. The famous saying of, ‘penny plain, two pence coloured’, the two ways in which the scenic content of toy dioramas were sold, was also an inspiration behind the way I will construct the layers as they will be sketched in black and white. 

Katsushika Hokusai and Uriyo - e 

The style in which i will sketch the panels of the model is loosely inspired by the works of the Japanese artist and printmaker of the Edo period, Katsushika Hokusai. The line work of his famous print  ‘The Great Wave’ is a style that I will try to incorporate while sketching the panels. However, the panels of my model would be more stylized as Hokusai used to create natural scenes in a more realistic way.

Katsushika Hokusai belonged to the famous Edo period in which art was characterized by a decorative style. The Edo school of art is best known for its Ukiyo – e paintings and woodblock prints. Ukiyo – e, which literally means ‘pictures of the floating world’, was a style of painting that was used for entertainment. It was affordable to recreate and thus was meant for the common people who could not afford paintings. The content portrayed wealthy courtesans, kabuki actors, everyday life and was used as a style of printmaking for advertising purposes. The most common theme in Ukiyo – e portrayed was landscapes painted in odd angles and shapes with emphasis on flat planes and strong linear outlines. 

Trompe d'oeil 

Another thing that i studied for a deeper understanding of the illusion of depth but which did not necessarily influence the development of my project was Trompe d’oeil, an art technique involving extremely realistic imagery in order to create optical illusions that depict objects to appear in three dimensions.

Trompe d’oeil has existed in paintings since the renaissance and has been extensively used by painters and artists ever since to study foreshortening, light and making objects appear three dimensional on flat surfaces.  It has long been used in set design to create the illusion of a much deeper space than the actual stage. A famous early example is the Teatro Olimpico in Vicenza, which has a permanent Trompe d’oeil stage. It was created by Vincenzo Scamozzi and depicts a seven forced perspective street scene that appears to recede into the distance.


REFERENCE: 
Horton, S. R. Where They Having Fun Yet: Victorian Optical Gadgetry, Modernist Selves [online]. Available at:http://publishing.cdlib.org/ucpressebooks/view?docId=ft296nb16b&chunk.id=d0e554&toc.id=&brand=ucpress. [Accessed: 5 June 2011]

Museum of Childhood [online]. Available at:http://www.vam.ac.uk/moc/collections/toys/toy_theatre/index.html. [Accessed: 5 June 2011]
Hokusai, A. 1994-2010 [online]. Available at:http://andreas.com/hokusai.html. [Accessed: 7 June 2011]

Pioch, N. 2002. Art of the Edo Period [online]. Available at:http://www.ibiblio.org/wm/paint/tl/japan/edo.html. [Accessed: 7 June 2011]

Edo Peiod [online]. Available at:http://www.japan-guide.com/e/e2128.html. [Accessed: 7 June 2011]

Delahunt M. 1996-2010. Edo Period or Edo Era [online]. Available at:http://www.artlex.com/ArtLex/e/edo.html. [Accessed: 7 June 2011] 

Tokugava Gallery [online]. Available at:http://tokugawagallery.com/history.html. [Accessed: 10 June 2011]

 Ukiyo-e. Available at:http://library.thinkquest.org/trio/TTQ05064/Templates/ukiyo-e.htm. [Accessed: 10 June 2011] 

Saturday Art: Trompe l’oeuil Frecsco by Andrea Pozzo, Jezuit Church, Vienna [online]. Available at:http://my.firedoglake.com/karin/2011/04/09/saturday-art-trompe-loeuil-fresco-by-andrea-pozzo-jesuit-church-vienna/. [Accessed: 10 June 2011]