| PERCEPTION OF UGLINESS IN FASHION | Arzu EVECEN, Melek KOÇ | 1–14 |
| A REVIEW OF ARCHITECTURAL FEATURES OF AMASYA YALIBOYU HOUSES AND A SUGGESTION | Atlıhan Onat KARACALI | 15–25 |
| MINIMAL ART AND MINIMAL SCULPTURE IN THE PUBLIC AREA | Fatma Nazlı SUYUM, Canan ZÖNGÜR | 26–39 |
| AN EXPERIMENTAL STUDY ON THE VISUAL QUALITY OF THE WOVEN SURFACES CREATED BY YARN ARRANGEMENTS AND WEAVE REPORT | Fatma Yelda GEZİCİOĞLU | 40–57 |
| THE UTILIZATION OF HUMULUS LUPULUS ASHES AS A GLAZE RAW MATERIAL AT 1160 °C | Fulya SAVAŞ | 58–67 |
| FABRİC AS AN OBJECT OF EXPRESSION IN ART | Gülşen Şefika BERBER, Azize Reva BOYNUKALIN | 68–85 |
| DIFFERENT ADDITIVES AND ARTISTIC APPLICATIONS IN CERAMIC | Mine POYRAZ | 86–103 |
| IN THE WORKS OF EDWARD HOPPER (1882-1967), THE PAINTER OF SOCIAL REALISM AND URBAN LONELINESS IN AMERICA, THE URBAN IMAGE AND LIGHT-SHADOW (CHIAROSCURE) | Tuğba RENKÇİ TAŞTAN | 104–118 |
| CERAMIC ARTISTS USING THE BAG FORM AND THE BAG FORM | Zarife KARADENİZ, Azize Melek ÖNDER | 119–137 |
| HOME TEXTILE DESIGN PROPOSALS UNDER THE INFLUENCE OF POP ART MOVEMENT | Özlem TOPAÇOĞLU, Hamdi ÜNAL | 138–150 |
| A CONTEMPORARY READ ON WHATNESS OF THE SUBLIME IN ART | Özüm KOŞAR | 151–163 |