| TWO DIFFERENT VIEWS ON MIGRATION: REPRESENTATION AND ANALYSIS OF MIGRATION IN THE WORKS OF TIRAJE DIKMEN AND GÜLSÜN KARAMUSTAFA | Atalay MANSUROĞLU | 1–12 |
| THINK GLOBALLY DESIGN LOCALLY: URBAN VERNACULAR APPROACH FOR CLIMATE CRISIS | Atlıhan Onat KARACALI | 13–22 |
| IN THE HISTORICAL PROCESS, THE RELATIONSHIP BETWEEN BIOMIMICRY AND FASHION | Bahar MARABA, Esin SARIOĞLU | 23–38 |
| USE OF WASTE EGG SHELLS IN CERAMIC GLAZE AT TEMPERATURE 1150OC | Beyza Nur KUM, Mine POYRAZ | 39–51 |
| TECHNOLOGY AND HUMAN RELATION IN HEIDEGGER’S PHILOSOPHY: HAYAO MIYAZAKI’S “NAUSICAA OF THE VALLEY OF THE WIND” ANIME FILM ANALYSIS | Elif DOKUR | 52–60 |
| ANCIENT ECUADOR’S PRECOLUMBIAN CERAMIC ART AND THE SHAMANIST ARTWORKS DISPLAYED AT CASA DEL ALABADO MUSEUM | Funda ALTIN | 61–74 |
| TONING WITH AQUATINTA METHOD IN TÜRK ENGRAVED PICTURES | Hava KÜÇÜKÖNER, Mustafa KÜÇÜKÖNER | 75–89 |
| TECHNICAL PRACTICE METHODS FOR IGOR STRAVINSKY’S “THREE PIECES FOR SOLO CLARINET” | Orkun UYAR, Deniz YAVUZ | 90–100 |
| INTERACTIVE DIGITAL INTERFACE DESIGN IN MOBILE APPLICATIONS AND AN INTERACTIVE DIGITAL INTERFACE APPLICATION EXAMPLE | Tarık YAZAR, Yusuf AKPINAR | 101–125 |
| BARBIE THAT CHANGED OVER THE YEARS AND THE REFLECTION OF THIS CHANGE ON THE BARBIE POSTS THROUGH INSTAGRAM | Uğur GÜNAY YAVUZ, Seçil TAYLAN ERDEMLİ | 126–144 |
| A MYSTERIOUS ICON PAINTER IN THE 19TH CENTURYs. MIKHAIL VRUBEL | Zekiye Aslıhan ÖZTÜRK | 145–155 |
| AN ENLIGHTENMENT ARGUMENT: BLAKE & NEWTON | Zekiye Aslıhan ÖZTÜRK | 156–166 |
| USE OF METAPHORS IN GRAPHIC DESIGN | Ferrah Nur DÜNDAR | 167–176 |
| NFT And Reliabiiıty In Dİgital Art | Serdar SÜDOR | 180–193 |