THE ILLUSTRATOR

AND THE CITY

How can illustration
react to and interact
with the urban
environment?

Rebecca Hendin
Central Saint Martins
MA Communication Design
May 2014


WWW.ILLUSTRATION-CITY.COM
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Table of Contents

2. Abstract
4. Introduction
4. Early Research
8. Shifting Interest into Urban Environment
10. Theory Meets Practice
11. Urban Theories: Georg Simmels The Metropolis and Mental Life
14. Urban Theories: Moving Forward
15. Practice-Led Research: Street Haunting, The Road & Our Town
22. The Benefits of Interaction in Urban Design
23. The Role of the Creator: Walter Benjamins The Author As Producer
26. Illustration and the City: Methods of Reaction & Interaction
26. The City as Message
27. The City as Medium
29. The City as Canvas
33. Coming Full Circle: Faces and Voices of Hackney
39. Conclusion
41. References
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Abstract

The illustrator working within the urban landscape must
be sensitive to the nature of the city as the city by its
very nature can be cause for overstimulation to the point
wherein much information is discarded and disregarded.
Additional visual noise is not needed for its own sake, so
should play a role in organically or beneficially shaping
the environment if feeding back into it. Following this,
sometimes illustrations most effective form in response
to the urban environment may be an active one within it,
and other times it may be as commentary or
documentary reflection, rather than as more a directly
active intervention. Through practice-led research, and
via exploration of practices and theories considering the
city's role at various points as one of medium, message,
canvas, and inspiration, the question of how illustration
can react to and interact with the city is explored in the
urban space of London.

Please note
Many of the projects and others created during this MA are printed
and included in physical submission for better viewing, both in large
format and in book form. Sketchbooks and additional notes
documenting research can also be found in additional physical and
digital submission. Research, projects, and background material,
including further visuals, full videos and in-depth explanations of
projects discussed in this paper are also available to watch, explore
and read about at:

WWW.ILLUSTRATION-CITY.COM
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Introduction

The illustrator within the urban landscape must be to be sensitive to the nature of the
city as the city by its very nature can be, as Georg Simmel writes in The Metropolis
and Mental Life, cause for overstimulation to the point of a corresponding necessary
blas mentality in which much information is disregarded. (Simmel, 2002) Additional
visual noise is not needed for its own sake, so should play a role in organically
shaping the environment if feeding back into urban space. Following this, sometimes
illustrations most effective form in response to public space may be as an active part
of the space, and other times it may be as commentary or documentary reflection
outside of that space rather than as active role within it.

Visual noise shapes the modern urban environment, and this volume of noise is
amplified by city size. This can be simultaneously positive and negative, which this
paper considers in reference to such thinkers as Simmel in the early 20
th
century up
to more contemporary, pop-culturally related commentators such as Andrew Marr via
the BBC documentary series Megacities. This, as well as Walter Benjamins views
on authorship will be here explored, alongside various views on public space and
urban utopias. A number of creative responses to and within urban space, with
specific focus on illustration are examined in relation to each other, and to these
theories.


Early Research

My early research aimed to discover how technology skews response, and how
answers retrieved through technological intervention differ from those retrieved via
personal inquiry - and the effects of the ongoing technology and communications
revolution on the human psyche, on thought, and on interaction.

I created a short animation test called Search Engineering: Happiness to visualise
research comparing how search engines - though programmed by humans - and
humans themselves, answer the same questions differently. The prompt I gave was,
define: happiness.

People gave wide and varied answers, usually personal and related to humour and
experience, but search engine responses were skewed towards clich and
consumerism, responding with smiley faces, sunsets, and adverts for quick
happiness. This research and project stimulated my interest in how this consumer
culture and alongside it, the worlds growing population could influence increasing
levels of isolation. My later work dealing with the urban environment was influenced
by this interest, particularly as it considered urban emotional states. The modern city
is hugely impacted by technological advancement and interaction via technology, so
there was a natural arc from one subject area to the next.

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Still from Search Engineering: Happiness 2012.

Upon beginning the MA, I defined myself purely as an illustrator. I hoped to change
this, as there is an obvious trend toward moving image in all walks of commercial art,
particularly illustration. This is seen in the urban landscape of London through moving
billboards, moving adverts on the Underground, in the animated LCD screens in
Piccadilly, in buildings which are illuminated nightly with light shows in Canary Wharf,
and in the advent of projection mapping.

A moving image trend can additionally be observed in other areas traditionally
reserved for illustration such as visual accompaniment for editorial pieces, as content
moves to a digital space, one notable example being the NY Times Onlines
animated OpEd feature.

Becoming obsolete as a practitioner in an area evolving beyond itself is of course
never ideal. This early piece was a simple little stop frame animation, but I liked it for
that, as it didn't feel like what I had created actually deviated too far from illustration.
It was an 'moving illustration,' more than an 'animated animation. This informed
further work, in which I aimed find a space for illustration that moved, but that
perhaps didnt dip so far into animation that was it no longer, at its core, illustration.

Next, I further explored moving image via collaborative practice. Still focusing on how
technological advancement could affect relationships and interpersonal
communication, a small team and I made a short film combining live-action with
animation, exploring a fictional future world in which technology has so taken over
methods of communication that people lose their ability to communicate without it.

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The film was called Noise. Feedback received was that where it was most successful
was in eliciting an emotional response from its audience from its use of nostalgia
via video clips, from its rough edges, from the audio choices, and from the storytelling
element. These were things I took forward into later projects.


Noise on Vimeo
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Stills from Noise, 2013.


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Still from Noise, 2013.


Shifting Interest into Urban Environment

At this time, I was asked within my professional illustration practice to create a large-
scale piece of public illustration for Foyles Bookshop on Charing Cross Road. The
illustration remained up for a year from May 2013. The project shifted my creative
and research interests within the MA interests into urban space, as I hadnt before
considered the city and illustration relative to one another in this way. This work was
at once inspired by the urban environment, represented the urban environment, and
existed within the urban environment all specific to London - leading me to
subsequently investigate the different ways in which illustration could function as
such.


All Paths Lead to Foyles, illustration for Charing Cross Road, London, 2013.


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Photograph of All Paths Lead to Foyles illustration installed on Charing Cross Road

Following this project, I reflected on how illustration in the urban public realm was
viewed by different bodies. For instance, on one hand, the piece received attention
from the design world, won some awards, and certainly plenty of people did notice it.
On the other hand, I became aware that despite its size, it remained unnoticed by
many others, so I investigated why this was the case.

One research method I employed for evaluating how illustration in the urban sphere
was viewed was through recording video of the illustrations passers-by on Charing
Cross Road. The footage made clear that one of the issues with such a piece of
illustration was that despite its size, high elevation caused people to miss it, due to a
tendency to look down. In video recorded over ten minutes, no one looked up. I found
a blog review, as well, which spoke of how the blogger enjoyed the piece when he
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finally noticed it having walked down Charing Cross for over half a year before
becoming aware of its existence more things to consider moving forward.




Stills from video footage recorded in my research examining where people focus their
gaze in busy urban areas, in this case during reflective evaluation of my work on
Charing Cross Road.


Theory Meets Practice

This new direction also led, of course, to various theories to consider about the
nature of cities and the cultures visual and theoretical within them.

In her book Ideal Cities about ideas of urban utopias Ruth Eaton considers
overarching views on urban life in the Victorian era, characterising the Western world
in the nineteenth century by industrial development and the growth of large urban
accumulation, calling resulting city life chaotic, generating an unjust and
dehumanized society. (Eaton, 2002)

Though written about urban life 150 years ago, this passage could be describing
present times. Referring to the early twentieth century urban experience, Eatons
sentiment is mirrored by George Simmel, who in his 1907 essay The Metropolis and
Mental Life, characterises psychological life in the urban environment by a dichotomy
between highly positive and negative facets mostly in regards to sensory
overstimulation, pros and cons of individual freedoms, and economic and human
interrelations as they exist within urban space. (Simmel, 2002)



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Urban Theories: Georg Simmels The Metropolis and Mental Life

Through the work of Simmel, in particular, sociology acquired a possible character
beyond positivist data-collection or grand, deterministic systems of structural law.
(Wikipedia, 2014)

The deepest problems of modern life flow from the attempt of the individual to
maintain the independence and individuality of his existence against the sovereign
powers of society, against the weight of the historical heritage and the external
culture and technique of life. (Simmel, 2002)

To understand a body of culture on a more complex level than through positivist
scientific investigation it could be said, to understand instead with empathy
Simmel says that individual and communal experiences should not only be
investigated, but also their relationship to one another, to environment, and to social
structures.

It is Simmels belief that knowing the varied characteristics and stories of others
helps one not only to understand others, but simultaneously to understand one's own
self and one's own natures, freedoms, and irreplaceability. (Simmel, 2002)

Simmel also deems necessary the "reserve" and "blas" attitude inherent to urban
dwellers to mental urban survival. He believes this attitude is caused by the
aforementioned freedom as well as necessitated by over-stimulation, and should not
be confused with true indifference (which he says would be "unnatural") or
antagonism.


Photos from personal archive documenting research examining various individuals
acts and reasons for ignoring signs in urban spaces, reflecting Simmels theories of
urban indifference.

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In making note of some of the more unpleasant aspects of urban life, Simmel's
theories support the potential usefulness of design working to reverse urban
loneliness and alienation. The design would have to function within the context of a
level of inherent urban indifference, but should aim to remove just enough of it that
the resulting isolation of urban life could potentially subside somewhat.


Illustration I made responding to instances of modern urban isolation, intending to
both document and possibly create call-to-action design by way of familiar London
imagery and satire.
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Simmel also discusses how the essentially unbound growth of metropolises displays
a move from quantitative to qualitative observation in terms of importance. Though
growth within the metropolis is inherently interconnected, the nature of people is
independently individual. As such, people must be examined outside of one another,
supporting design that encourages the sharing of individual stories, a practice gaining
popularity in the modern urban British environment through live urban storytelling
events such as Spark London (an organisation I have begun to work with in my final
project.) This is important, too, as in order that this most personal element be saved,
extremities and peculiarities and individualisations must be produced and they must
be over-exaggerated merely to be brought into the awareness even of the individual
himself." (Simmel, 2002)

Individual as each person may be, and as unable to fall as the metropolis may be in
relation to one individual (as opposed to a smaller community), the city's character is
built completely on these unique components, and is created through their outward-
reaching aspects.

Simmel essentially makes a case for certain activity (and therefore illustration) that
looks outside of itself and interacts with the urban space, inasmuch as the city "only
exists" as a combination of that reaching out of the individual's spatial and temporal
realm.

He also cites the brevity of metropolitan interpersonal exchange and the subsequent
need for people to quickly assert noticeable unique qualities as "the most profound
case of the fact that the metropolis places emphasis on striving for the most
individual forms of personal existence." (Simmel, 2002)

In applying Simmel's theories to illustration, the imagery created within the urban
context should address the whole as well as the individuality comprising the whole in
order to best relate to metropolitan mentality. Image-making should also address a
more emotional side of individuality as "regression of the culture of the individual with
reference to spirituality, delicacy, and idealism" resulting from "over-growth of
objective culture" in modern metropolitan existence has, according to Simmel, been
increasingly unsatisfying for the individual. Simmel discusses how the metropolis
causes a culture that has outgrown the personal experience.

Regardless of whether we are sympathetic or antipathetic with their individual
expressions, they transcend the sphere in which a judge-like attitude on our part is
appropriate it is our task to not complain or to condone but only to understand."
(Simmel, 2002).

Simmels writing informs my work by supporting the idea that it is sometimes best for
illustration to actively engage with the urban environment, but only when it is
beneficial to the space. Emotional, visual, or intellectual noise is not necessary in and
of itself unless it benefits the space, being that city-dwellers tend to be emotionally
turned-off to overstimulation in the city to preserve their own mental existences. In
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these moments, illustration should take a step back from urban space and observe,
rather than actively engage.


Urban Theories: Moving Forward

In the present day, Andrew Marr provides reflection on the sometimes personally
overwhelming nature of urban experience in his 2009 BBC documentary Andrew
Marrs Megacities, noting personal feelings of disconnection and alienation
experienced in overly populated, overly visually and technologically inundated cities
such as Tokyo and Shanghai, as compared to the feeing of being in less emotionally
stifling cities, visually busy (still huge) environments such as London or Dhaka. And it
isnt just Marr the phenomenon of hikikomori was a growing issue in Tokyo when
Marr visited. Hikikomori are individuals who have become so frightened and anxious
about modern urban and corresponding aesthetic conditions that they dont leave
their house at all anymore in many cases for years. (Marr, 2009)







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Stills from Andrew Marrs Megacities

If the urban experience is one of constant dichotomies, of endless mixed experiences
of positive and negative of so many stories that the narratives become intertwined
and so hard to follow and count in any sort of artistically objective or positivist way,
then how can illustration account for or even fit in alongside all of this? When
everything else is moving so quickly, ever-interweaving, and becoming ultimately
convoluted visually, ideologically, and narratively, sometimes the best option is for
the illustrator to simply act as a documentarian eye. This is not to say that that one
completely steps back passively. There are different effective levels of engagement
ideal for such documentation. Sometimes full interactivity is optimal, if there is a
benefit to the visual intervention in the space. Projects should consider their impact
on the urban space to decide this level of interaction in their final form. I embarked on
several projects to explore this.


Practice-Led Research: Street Haunting, The Road & Our Town

Street Haunting was a project wherein I used illustration to create an imagined
storytelling and way-finding system for Central London. I collaborated with fellow
CSM students and Kings College London literature PhD candidate Simon Vickery,
whose research concerns British literary and architectural modernisms.

During my own research, I looked into the history of Brutalist architecture in the
England, social housing and council estate history in and out of the UK, focusing on
case studies such as Trellick Tower, and maps and way-finding systems. I
researched London transport, documenting tube journeys, researching the visual and
overall histories and cultures of the Underground, and visiting places such as the
London Transport Museum. I thus gained a broader academic understanding of the
urban environment of London and its history. I also created an illustrated way-finding
map of Reading during the summer between years 1 and 2 of the MA for an urban
arts festival, practicing methods that I was able to take forward into Street Haunting.

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My illustrated urban way-finding map of Reading for 2013s Whitley Arts Festival

We ultimately created a comprehensive 3D, illustrated way-finding system for Central
London, following the path outlined in Virginia Woolf's Street Haunting. We aimed to
encourage urban wandering, highlight British cultural history, and to encourage foot
travel. Thus, illustration found another place in the urban landscape of London. I was
able to fuse knowledge previously gathered from, for instance, the Foyles project, to
understand how large-scale illustration might be most visually effective.


One of my Street Haunting illustrations superimposed into Central London on the
Street Haunting path; 2013.
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One of my Street Haunting illustrations superimposed into Central London on the
Street Haunting path; 2013.
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One of my Street Haunting illustrations superimposed into Central London on the
Street Haunting path; 2013.
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One of my Street Haunting illustrations (this one was moving image) superimposed
into Central London on the Street Haunting path; 2013.
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I also explored the possibilities for illustrations use in responding to Londons urban
space and interacting with it by using the city itself as content for a music video
created with two other MACD students. We were inspired by fusion videos that use
animation and illustration alongside live-action. We shot the video all over public
spaces within London, which allowed exploration of the city simultaneously as
inspiration and as content. The project fed to further understanding of how illustration
could work in and alongside moving image, as the animated aspect was mostly
abstract illustration made frame-by-frame essentially like creating a big series of
still illustrations that worked in order.


The Road on Vimeo

Following this foray into music video and animation, I tested how moving illustration
and the urban landscape of London could be fused, by working with a band that
made music about itinerant experience in London. The song used is called Our
Town, and explores the wonder of wandering London, particularly at night, and all
that makes London special - the newness, the oldness, the colours, the grey, the
adventure, movement, and characters encountered... as well as the music, madness,
strangeness, beauty, mystery, and magic of the city. I thus created a surreal and
magical urban world to suit this.

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Our Town achieved a positive emotional response from its audience. It was
successful also as a piece of moving illustration working to tell an urban story, as it
won a space in the 2014 Serco Prize for Illustration exhibition, called London Stories,
thereby putting it on display for 2 months at the London Transport Museum. The
London Stories exhibition showed illustrated work concerning stories specific to
London. In this way, Our Town achieved its goal of urban interaction in being inspired
by the city and being about it, as well as being accepted back into a public museum
within the city, thereby re-placing illustration back into the urban environment.


Our Town on YouTube





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The Benefits of Interaction in Urban Design

Case studies have proven that social engagement in the urban environment is
engendered by much more than architectural space. Everything from art to
interaction/co-creation possibilities determine a spaces success, as shown, for
instance in the book People Make Places: Growing the Public Life of Cities.

At their best, public spaces act like a self-organising public service, just as hospitals
and schools provide a shared resource to improve peoples quality of life, public
spaces form a shared spatial resource from which experiences and value are created
in ways that are not possible in our private lives alone (Mean and Tims, 2005)

The case for the benefits of interaction in urban space by Mean and Tims in People
Make Places follows in-depth qualitative research via personal inquiry into the use of
public space in cities across the UK, and how interaction in these spaces improves
the urban environments of which they are part. As the book says, Cities were
invented to facilitate exchange the exchange of ideas, friendships, material goods,
and skills. How good a city is at facilitating exchange determines its health
economic, social, and cultural. Public space forms a vital conduit in this exchange
process, providing platforms for everyday interaction and information flows- the basis
and content for the public life of cities. (Mean and Tims, 2005)

Recently in London among many to choose from as examples the success of
installations such as Dalston House and the worlds largest interactive Pac Man
game projected onto an East London building add further support for the benefit
of artistic interactive interventions in urban space.


Screenshot from inavate.com, 2014
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In considering the various levels of engagement and interaction illustration could take
in regards to urban environments, I considered Ruth Eatons views on the benefits of
locally-reactionary design, who writes The utopian ambition, though it may function
within the global guidelines of certain principles, in todays case those necessary for
sustainable development, must acquire a new modesty, responding specifically to
local conditions, creating a heterogeneous collection of context-sensitive projects that
transcend a multitude of realities. Without them the world will indeed be a dull place.
(Eaton, 2002)

Furthering theory on the benefits of interaction in design, Audrey Bennett discusses
Barthes theories on active engagement, and writes, We need a new partnership
between the intuitive, artistic aspects of communication design and a willingness to
listen to users and other stakeholders and help users to contribute their ideas to the
communication design process. (Bennett, 2012) Bennett adds that she considers
images to have an additional level of passive or active engagement based on their
sensory interaction, beyond their denotative and connotative implications. In
describing this extra level of intersensory experience, Bennett could here be seen as
expanding, in a sense, McLuhans supposition that the medium is the message.
That is to say, what is said and how it is said are equally as important within image
communication and engagement ability.


The Role of the Creator: Walter Benjamins The Author As Producer

I also considered Walter Benjamins views expressed on authorship and co-
authorship in his essay The Author as Producer, which support community
engagement by the designers immersion in the community. If illustration is to actively
engage with an urban space and to believably represent it - simultaneously hoping to
influence it in any way, sometimes immersion in the space and attention to its
workings is vital.

Though Walter Benjamin wrote some years ago, the book Digital Currents: Art in the
Electronic Age discusses his contemporary relevance. Benjamin, it says, addressed
the issues surrounding the relationship between the arts and technology from a
vantage point in time that is in some ways reminiscent of our own. His essays in
many ways still feel surprisingly up to date, thanks not only to parallels between
mechanical and digital reproduction but also to the historical context, which begged
to reconsider possible connections between cultural production and technology.
(Lovejoy, 2004)

In The Author As Producer, Walter Benjamin discusses the trouble of the creator
being removed from the process of production - that is, defined as an intellectual in a
position "next to the proletariat," rather than actively engaged. "What kind of position
is that?" asks Benjamin, "It is that of a benefactor. Of an ideological patron. An
impossible patron... The place of the intellectual in the class struggle can only be
determined, or better, chosen, on the basis of his position in the process of
production." (Benjamin, 1970)
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Doodle of Arthur Benjamin I made whilst mulling his work.

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Benjamin describes Russian writer Sergei Tretiakovs belief in taking on an active
role in the society upon which one aims to base creation, even in relation to fictional
work. Similarly to how a method actor delves into character without return to the 'self'
until the dramatic undertaking is realised, Tretiakov believed this active immersion
process to be vital to truth and relevance within literary creation. (Benjamin, 1970)

This method of immersion and activity within a community is supported in design by
similar immersion and attention to what is represented during research and
corresponding design processes. If illustration is to actively engage with an urban
space and to believably represent it - simultaneously hoping to influence it in any
way, immersion in the space and attention to its workings is vital.

A similar rationale is applied in Trotsky's writing about the Russian Revolution.
Trotsky believed in social change from those within - not from outsiders, however
well-educated and well-meaning. These outsiders, despite what could be considered
"intellectual superiority," under the thinking of Hiller's "activism" and "logocracy"
(defined as "power of the intellect - or, translated by Benjamin, as "power of the
intellectuals") ideologically, often remain outside of practicable reality. (Benjamin,
1970)

Though Trotsky was concerned with the mortal cases of war and peace, this thinking
can be applied to proportionally smaller social matters. Illustration, for instance, if
hoping to have any effect on the space it considers, should record the voices and
views of that space - in effect, taking the public's "arguments," so to speak, and
communicating them via illustration. Though the illustrator's perspective can and
should still be considered (as mediator and curator of these voices), for the illustrator
to simply comment without in some way bringing these voices to light could be seen
as less effective.

In the essay, Benjamin also explains the success of Brecht's epic theatre, which re-
places the raw human experience at front and centre. It pauses upon certain
moments and actions, engendering reflection, creating "action out of the smallest
elements of behaviour." Benjamin makes a point for what in much epic theatre, as in
much engaging illustration, as in much of life is beneficial: humour and the raw
human experience. (Benjamin, 1970)

Benjamin's essay ultimately points to the need not only for all of these things, but
most importantly for the creator to engage with reflection - that is, to consider one's
place in the process of production.

My research and practice has aimed to do this through experimentation regarding the
illustrator's various places and possible choices for reflection and engagement in
relation to urban space and the processes of production available within.




26
Illustration and the City: Methods of Reaction & Interaction

This theoretical and practical exploration ultimately has taken me to a greater
understanding of the multiple ways in which illustration can react to and interact with
the urban environment, which I divided into categories of how the city can function in
relation to illustration. The city, when broken down into its functions in relation to
illustration can act as such
1. The city can function as message.
2. The city can function as medium.
3. The city can function as canvas.


The City as Message

The city functions as message in illustration when the conceptual content is derived
directly from the urban environment. Instances of this include reportage illustration in
which as little deviation from the exact visual of that which is being portrayed is
aimed to be achieved. The city also acts as message when it is used as conceptual,
intellectual, or emotional inspiration for illustration when it is used for extrapolation,
but perhaps does not feature in a directly obvious way in the outcome. There is a
broad spectrum of illustration that can fit into this category, from illustration that
represents actual parts of particular cities, to stylised representations, to imagined
cityscapes and abstract pieces based instead on broader ideas or feelings
surrounding an urban environment or environments.

Illustrators use urban environments as message frequently. I find the works of Barron
Story, Robert Weaver, Laura Oldfield, and Michael Cho (whose motives as an
illustrator reacting to and interacting with the urban environment are discussed further
below) to be particularly engaging examples of illustration using the urban
environment in this way.

In a 2012 article in Canadas National Post newspaper, Toronto illustrator Michael
Cho discussed the role of the illustrator in speaking about his book Back Alleys and
Urban Landscapes, which visually documented the city through illustration. (Cho,
2012).

Ive always thought that the job of the illustrator was to be an honest, visual
documenter of their times. So this book sort of fits into that mandate, for me. Ive
always just wanted to express, honestly, the times that I live in. And this does that.
(Medley, 2012).

Chos indeed creates an honest portrait via non-linear narrative of contemporary life
in Toronto by documenting the city through illustrating, as the title implies, the back
alleys and streets. Through this, he has created a personal but universally
understandable visual syntax by providing an alternative view of a familiar urban
landscape. Choosing to use less obvious visuals in his visual vernacular by avoiding
identifiable Toronto landmarks, The National Post confirms that Back Alleys and
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Urban Landscapes is still able, by providing truth in its candid drawn observations, to
create a recognisable urban space. Cho expands on his visual choices:

Its more intimate, its more voyeuristic, in a way, but you also get closer to the city,
Cho says of his decision to concentrate on the hidden parts of the city.

The front is the public face, he says, while the back is like looking at peoples
tattoos, or seeing the way their bodies have aged, become different over the years.
(Medley, 2012).

Though Chos work relies heavily on the city to produce reportage-type visuals and
he sees his role muchly as documentarian, his work makes a clear deviation from
pure documentation in the way that photo-real illustration or photography might
portray a city. His illustrative style does not simply show the look of a city it shows a
feeling of the city as much as anything. In this way, the city has provided a basis for
creative extrapolation and as such, the message of the work. Even this is not
without interaction, as interaction is engendered by the emotional response of the
viewer.

Sometimes even a mental interaction might be enough. In speaking of art
(particularly installation art) Chris Meigh-Andrews calls everything ultimately
interactive, as the viewer makes his or her own spatial and representational
choices relating to the experience of the work. (Meigh-Andrews, 2006)

All of the work I produced during this MA, in some way, uses the city as message.
This is more directly obvious in projects such as Our Town, Voices of Hackney, and
All Paths Lead to Foyles, for instance, in which the urban environments influence
and aesthetic can be clearly seen in the illustrative outcome. However, even projects
where the citys influence are less visually obvious in the outcome (in Noise, as an
example) the feeling urban environment has still shaped the project, thereby
informing and playing a role as message within it.


The City as Medium

When the city functions as medium, the aesthetic components are gathered directly
from the urban environment, featuring in the outcome itself. This is exemplified, for
instance, in film and photography shot on location in urban space, in which the city
itself plays a participatory role in the outcome, as well as in art and design using
urban space (often through inclusion of film, photography, and other directly
representation media). Biography and memoirs that tell direct stories of cities sans
deviation from fact, including written, audio, photographed, or film documentary (such
as Andrew Marrs Megacities) also use the city as medium. Illustration incorporating
any of this as content in this way uses the city as message.

Examples of this using moving illustration include Creature Comforts and the Story
Corps animation series, among others. Another notable example using moving image
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in the urban environment and as such, using the city simultaneously as canvas and
as medium is Moment Factory interactive projection mapping project Mgaphone in
Montreal, which invited passersby in the public space in front of Montreals UQAM
building to engage with the space and with each other via public speaking. Their
speech became part of an illustrated moving visual projected at large-scale onto the
UQAM building, allowing the citys words to directly act as content and therefore
message in the project. Mgaphones use of the urban environment as setting for its
outcome leads into the next possibility for illustrations interaction with the urban
environment: the city as canvas.

Illustration that uses the city as medium is useful in relaying direct visual information
concerning urban spaces, which provides everything from empathetic viewing from
an audience to education about the realities of certain spaces. It also provides a
basis in reality, and thereby engenders audience relation.

Projects such as Mgaphone are prime examples of the importance and success of
this type of urban visual work:

Mgaphone makes the UQAM building into a gigantic oral canvas on which ideas
are displayed and shared. The project is intended to bring the art of public speaking
back into the heart of the city. As citizens, we are given the opportunity to use a
unique vehicle of communication, to engage in speech, and to leave the imprint of
our voices on the urban landscape. (www.megaphonemtl.ca, 2014)


How Does Mgaphone Work? Screenshot from www.megaphonemtl.ca, 2014.

Selected projects of mine from the MA that employ the city as medium include The
Road, Then Silence, Dance Umbrella, Our Town, and Voices of Hackney. In these,
direct images or sounds of the city are used to create and feature directly in the
outcome.
29

The City as Canvas

When the city becomes a canvas for illustration, this is often best described as
illustrative art in urban, public settings. For my purposes, this will be defined as any
illustration that exists within urban public space whether commercial or non-
commercial, and whether commissioned or un-commissioned. As such, everything
from commissioned outdoor mural art to billboard design to graffiti falls under this
terminology.


Photos of McBess illustrations for TFL adverts seen around Londons urban spaces
examples of illustration using the city as canvas. From personal archive, 2014.

This jargon and avoidance of the term public art follows explanation utilised in such
literature as Susan Jones Art in Public, which notes the difficulty in attaching an
objective and concrete definition to the specific terminology, public art:

Using these words would have defined the content too narrowly, because this term
has come to describe a particular type of work in a particular type of setting: generally
permanent and usually architecturally defined art and craft works sited in city centres
or urban post-industrial locations undergoing major revitalisation. (Jones, 1992)

In arguing the case for relevant art in public spaces a Public Art Forum membership
leaflet cited in Art in Public calls art in public the key to rediscovery of the public
domain upon which the survival of our cities depend one of the building blocks of
urban regeneration. (Jones, 1992)
30

Illustration using the city as canvas also provides aesthetic improvement. Discussing
what took place after the World War II, Eaton describes the monotonous blocks of
housing created in Europe in post-war rebuilding, and the sarcellite malaise
experienced by their residents. In effect, urban environments were created that were,
of course, better than nothing, but were open to criticism by comparison with what
might have been realised instead. (Eaton, 2002)


The Canary Wharf Screen events are just one example of design (in this case,
moving image & animation) using the city as canvas; Canary Wharf Station, London.

Though modernism took longer to rear its architectural head in London than in other
European cities, prefabricated housing and certainly the ubiquitous purpose-built
block perhaps most connected in most Londoners minds to the Brutalist style
can be seen across London now arguably to a similar emotional effect discussed
by Eaton. It is these cases in which art can add vibrancy to a oft-grey city and cause
an urban space that might (at certain times and in certain places) evoke an otherwise
sarcellite feeling to give off a brighter one without interfering with its underlying
structure as the structure is as beautiful to some as it is off-putting to others.

In respect of how local conditions must be considered in the production of art in
public, art historian Jonathan Harris points out in a 26 September 1992 article in The
Guardian how a large amount of this art (similarly to architecture), being controlled
and curated by public art curation agencies and agencies generally, is not democratic
in its production. Though it is publicly exhibited, the commission process remains
contradictorily private. (Jones, 1992)

David Baggaley, as expressed in the article Politics, Patronage, & Public Art from
1990s Circa 94, believes that if this is to be the case, that the public must be more
considered in production of art in public, as its context inhabiting a space outside of
31
the gallery means that people are forced, in a sense, to interact with it simply by
living their daily lives. (Jones, 1992) Gallery art can ignore what a public is pleased
with, since the public can themselves ignore gallery art. But art in public is
intrinsically linked to the people who inhabit the same space as it, and as such it
should consider them on some level.

It should be noted, however, that it is the will of the artist - as maker, facilitator,
conceptualiser, or however the artists role is defined within a particular project - how
engaged with the public the art should be. This is part of the artists expertise. As
such, art created could engage the public in as small of a way as cursory research of
what is historically successful in a particular area, to as large of a way as including
the public in the entirety of an art products creation, even making the final outcome
interactive, for instance. Jones cites the article Lobby Puts Weight Behind Public Art
from 10 April 1992s issue of Building Design and Joanna Morlands Common
Ground to back this up:

It is impossible, however, to list in abstract the factors which, if satisfied, will
determine whether an art work in a public setting will be well regarded by the people
who have to experience it every day. Similarly, an architects notion of what
constitutes appropriate housing can only be proceed if people move in and enjoy
living there. There are arguments to support the low-key, common sense approach,
one encapsulated by Common Grounds way of commissioning artworks which
should have meaning for the present-day inhabitants and for future generations, and
become part of the life of the community, an approach highlighting their concern not
to alienate any of their audience. (Jones, 1992)

Though Common Ground may approach attempts at public satisfaction by attempting
to commission artwork only relevant to the surrounding community, there are other
options for the egalitarian production of art in public. Guerilla art in public can be
seen, in respect of aforementioned theories, as a democratic method of production,
as it skips the role of the curation or public art agency. Although these agencies can
b beneficial to the artist and artist promotion (as I experienced in the case of my work
for Foyles, which was curated by public art agency Futurecity), removing the agency
could mean a closer tie between artist and public by removing the middleman, and as
such, the economic, intellectual, and professional hierarchies of which Harris speaks.
On the other hand, sometimes the agency itself helps foster these community
connections, so this is dependent on case-by-case analysis.

Ideally, an agency acts as a buffer against fundraising problems, multiple agendas
and intransigent commissioners. However, it is also a buffer to direct dialogue, which
for many artists is an adrenalin source for new ideas and creative solutions. (Corner,
Jones ed. 1992)

The issue of public arts reception is tricky, and Jones cites bad mediation as a
reason for problems. When an Antony Gormley sculpture was vandalized, he
commented that it was due to the artwork, Two Stones, at Singleton Village School in
Kent being just plonked onto the building site without attempts at introduction of the
32
art into the surrounding community (as reported in Art Within Reach). Patricia
Bickers, a former editor of Art Monthly claimed on Radio 4s Kaleidoscope that the
place of art is made by magazines, curators, and writers not by the art or by the
artist him or herself. (Jones, 1992)

Bickers view, like Haltons mentioned earlier, teems with elitism. Everyone in and
around a community surely should have just as much of a right to make community
decisions as another. A magazine writer or curator isnt necessarily best to decide
what is right for a community, particularly if they are outside of that community. Sans
approval of some bureaucratic or hierarchical established system, there is no reason
why art cannot indeed create a place for itself by listening to community voices and
reflecting them.

Graffiti is perhaps the most widely encountered form of guerilla art in urban public
space. Though many enjoy the aesthetics and implications of graffiti, and though it is
truly egalitarian in its creation in that there is of course no curation, it is simply art in
public created by the present public it can cause damage to structures, or at the
very least, forcibly interfere with other designs and spaces.

Solutions to this particular issue come in various forms. Fly-posting or wheat-pasting
can bring illustration into public space with less permanent damage, if executed
properly. Another solution is video projection.

While not harmful to the space it uses, video projections effect can be just as lasting
and can display illustration particularly moving illustration even more effectively. I
spoke to Charles Rosendaal from LCI, a South London based projection-mapping
company. We discussed strategic location of urban projection mapping and visual
campaigns. He explained that though foot traffic in London neighbourhoods like
Shoreditch or Camden may be lower than that in parts of Westminster or Southwark,
the younger and often artier demographic of the former areas means that passers-
by are more likely to record an interesting artistic experience or intervention, as well
as to share it digitally. (Rosendaal, 2014)

Ultimately, the success of art in an urban public space hinges on all stages of
execution and effect being considered, and enables the public not to be a passive
audience for the art, but a contributor to the body of ideas on which the art
concentrates. This method, which an result in the successful enhancement of the
visual environment and an improvement of the quality of peoples lives in a strategic
way, has the added reward of leading to empowerment of artists and other people. It
can create mutual respect, raise the status of artists and enable them to present their
private and unique experiences as artists to a public space. (Jones, 1992)

This is to say, a successful illustration project executed in public urban space in
which the city acts as canvas should involve collaboration between practitioners,
facilitators, and community members. When an audience is the general public of an
area, community, or city, that audience should be involved at some level in
contributing to what the artist puts into its public space.
33

Selected projects of mine from the MA that employ the city as canvas include Foyles,
Our Town, Street Haunting, and Voices of Hackney, as in these, the city provides
the space for the illustrative outcome in which to exist.


Coming Full Circle: Faces and Voices of Hackney

All considered, in my final work my aim became to create illustration fusing all of
these methods of engagement between illustration and the city that is, to find a way
to make work that uses the city as message, medium, and canvas all at once, and to
do so in respect of my research. Keeping in mind Simmels ideas about
overstimulation, but also considering his theories about how individual stories are
necessary binding material for the collective urban experience as well as personal
mental preservation, I wanted to explore how illustration could work alongside
storytelling techniques together at all those levels of creation from conception, to
creation, to mode and place of output.

Following all this research and experimentation via practice, Ive been working on a
project that will be partially finished by the end of the MA, but which I will continue
after its completion. The project takes stories told live in Hackney, mostly about
Hackney, and visualizes them in moving illustrative form synced to their audio.

The stories are sourced from a variety of places, including from the Hackney
Podcast, from a project called Stories from Gillett Square, from the monthly Hackney
Attic incarnation of the live storytelling event Spark London, and from personally
collected interviews conducted in Hackney by myself and my frequent collaborator,
illustrator and animator Will Adam.

The personal interviews are gathered via video and audio recording sessions held at
a roaming public drawing table in Hackney. At these sessions, held in London Fields
and on multiple occasions in Gillett Square in Dalston, we set up a sort of guerilla
intervention with drawing materials and recording equipment, and invite passing
members of the Hackney public to contribute their drawings and stories.

Initially, we thought we would have people draw faces and later digitally programme
the faces to randomly generate face-combinations with aims to projection map the
faces onto buildings in Hackney, and create talking building sized portrait projections.
Through our practice, we realised there was potential for a more interesting project if
there was a stronger illustration element that we as practitioners could provide, rather
than simply using others drawings and being facilitators. We also become
acquainted with the producer of Gillett Square through our guerilla drawing table
sessions there, who is interested in holding the table sessions more regularly and
officially. She is also interested in using Gillett Square as a space for the projection
event later on. This would provide a realistic way to make the end result an active
part of the urban space of Hackney.
34




Examples of drawings by members of the public who stopped to share stories and
draw with us at the Hackney roaming public drawing table.
35

Examples of drawings by members of the public who stopped to share stories and
draw with us at the Hackney roaming public drawing table.

The project, as it stands now, thereby takes the audio created for these stories and
visualizes the stories using illustration and animation and includes some drawn
elements sourced from the roaming drawing table in addition to my work. After their
completion, the animations should be projected in Gillett Square back into the urban
space from whence they were derived. As an additional element of urban
engagement, though the final outcomes will be synced to the pre-recorded audio
during some of their play-through, they will also ideally be able to be interacted with
live. That is, attendees to the projection event could make the same illustrations react
to sound and stories told live in the square.

36

One of my sketchbook drawings inspired by stories and interactions in Gillett Square
at the roaming public drawing table.


One of my sketchbook drawings inspired by stories and interactions in Gillett Square
at the roaming public drawing table.
37

As part of the process, we made a video about our experience holding the public
drawing table sessions, and the stories and interviews gathered there. We were able
to use this not only as a method for documentation, but for retrospectively evaluating
our early efforts at public participatory drawing and story-gathering.


Still from video documenting early Hackney roaming public drawing table
experimentation; 2014.


Our Hackney roaming public drawing table in action in Gillett Square; London, 2014.

38

Our Hackney roaming public drawing table in action in Gillett Square; London, 2014.


Our Hackney roaming public drawing table in action in Gillett Square; London, 2014.
39

Now, the stories not gathered from secondary sources are gathered purely via
recording audio when conducting the drawing table, as this serves all necessary
purposes. By the projects completion, there will be a comprehensive series of
moving illustrations, ready ideally by next year for appropriate placement as
illustration that is at once a reaction to and a fully interactive piece as part of the
urban space of London.


One of my illustrations (also being made into a moving illustration as part of the
Voices of Hackney project, which tells the story of a nighttime bookseller working in
Hackney.


Conclusion

Simmels theories support creative output noting both the individual and collective
experiences of urban existence. Eatons theories also call for a response within
created work to respond to specifically local conditions. Benjamins theories support
reflection from the creator, and encourage exploration of the human experience
through active experiential immersion in the creative process. His theories support
forms utilizing words and humour as parts of the creative output. He believes that
creation should encourage further creation from the audience.

Illustration that documents individual and collective voices at work in urban spaces
40
and integrates them by creating illustrative output using methods such as community
engagement and humour follows the theories discussed in this paper and in
acknowledging and utilising these, it can further succeed in creating a better urban
space. In this way, illustration can respond to (and understand) these theories and
the phenomena that they explains by collecting individual stories within urban
environments and fusing them together to create collective wholes, as we understand
from Simmel that the metropolis is not one without the other. It is both the individuals
that comprise it and the totality of these that make a city what it is, after all.

These theories can be fused with those of McLuhans, who teaches us that medium
is message. Following this, if the city is the medium, it is also naturally the message.
And if the city is the message, it is also naturally the medium and should remain so
in both creation at and output. Engaging illustration reacting to and interacting with
the urban environment then should include the city and urban experience as informer
of content in visual outcomes and narrative imagery by providing visual and
theoretical content as well as subjectively, appropriately feeding the images back into
the urban environment in away that encourages further interaction with urban space.
In this way, the truest and most engaging narrative of urban experience can be
created. In these ways, illustration finds its various places in which it can react to and
interact with the urban environment.
41
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