| The Use of Recycled Glass in Cold Glass Forming Techniques | Selvin YESİLAY,Özge BİÇER | 455–462 |
| The Problem of Voice Break at Register Transition During Vocal Training and The Approaches Towards The Solution of This Problem | Ezgi BABACAN,Hacer Cansu KAVŞAT,Aycan ÖZÇİMEN | 463–475 |
| Rethinking the Stoic Philosophy with the Changing Lanes: Achieving “Apatheia” | Yasemin ÖZKENT | 476–484 |
| The Use of Woad Plant as A Natural Dye Source for Woolen Fabrics | Fazlıhan YILMAZ | 485–490 |
| The Music Critism of The Frankfurt School | Ülhak ÇİMEN | 491–498 |
| The Influence of Active Learning Activities on Visual Perceptions of Children Aged Between 4 and 6 During Art Gallery Visits | Oğuz DİLMAÇ,Eyüp İNAL | 499–510 |
| Women’s Clothing Recommendations in the Şehbâl Magazine | Kenan SAATÇIOĞLU | 511–520 |
| Gerit Grimm and Her Figurative Sculptures Formed on the Ceramic Lathe | Burak YILDIRIM | 521–526 |
| Music in Sociology: The Frankfurt School, Adorno and Culture Industry | Tugba AYDİN OZTURK | 527–534 |
| An Example of Interdisciplinary Workshops: Printmaking-Ceramic Convergences | Zeliha KAYAHAN,Naile ÇEVİK | 535–545 |
| Teachers’ Features that Have Positive and Negative Influences on Instrument Training Motivation through The Students’ Evaluation | Serpil UMUZDAŞ,Mihriban YAĞIZ | 546–557 |
| An Essay on The Figured (Animal/Human) Motifs in Eastern Black Sea Regional Weavings | Keziban SELÇUK,Hüseyin YURTTAŞ | 558–569 |
| Searching for New Approach in Graphic Design Education | Kani ÜLGER | 570–579 |
| A Semiotic Analysis on The Bar Model in The Christian Dior’s New Look Trend Corolle Collection | Gökçe ÖZDEMİR | 580–587 |
| Visual Art Teacher Candidates’ Opinions on The Use of Social Media in The Art Education Process |