Robert Hooke (1635-1703) was the Royal Society's first curator of experiments and as such was central to the Society's research programme in its formative decades. He also had close ties with London's City administration, who employed him as Surveyor after the great fire. His personal diary, kept at the most active period of his life, enables a close analysis to be made of his working life and his networks of associations. As such, he is an interesting case-study for historians interested in the ways in which scientific circles overlapped with the other worlds of Restoration London. This paper will examine Hooke's associations with the painters and engravers, map-makers, makers of architectural drawings and models, sculptors, printers, craftsmen and instrument-makers who produced the visual culture of Restoration society. It will chart the extent and nature of Hooke's relationships with these people, in particular noting points at which exchanges of information took place. I will go on to suggest some ways in which Hooke's interactions with image-makers may have influenced, or been influenced by, his work for the Royal Society. A rich variety of image-making processes were available to the early experimental philosophers, yet some were utilised much more frequently for scientific purposes. This paper will attempt to show how individuals such as Hooke mediated between the world of visual culture and the largely oral and textual setting of the early Royal Society.