This study, which examines the structural transformation generated by digital technologies in art production practices with a specific focus on "digital painting," centers on a contemporary art environment in which technology has evolved from being a passive tool into a constitutive component of aesthetic construction. Conducted within the framework of classical qualitative research, the study has been structured and expanded in alignment with Practice-Based Research, which positions the artist's own production experience as the primary data source. The research process has been carried out along two interrelated and mutually nourishing axes: theoretical grounding and artistic practice. In the first axis, the historical origins of digital painting, pixel-based aesthetics, and human-computer interaction have been analyzed through relevant literature. In the second main axis, 10 original digital painting works produced by the researcher using Adobe Fresco (version 5.70) have been evaluated through qualitative content analysis regarding technical proficiency, layer structure, and surface simulation. Throughout this process, the stages of creation—from the preliminary sketch to the final design—have been systematically recorded to make the artist's relationship with the digital interface visible. The research findings demonstrate that the material, compositional, and expressive conventions of traditional painting discipline give rise to a hybrid aesthetic model intertwined with the affordances of the digital environment, such as undo, iterative variation, layer management, and AI-assisted tools. This flexibility offered by the digital interface transforms the artist's perception of time and space, converting the artwork from a "finished object" into an updatable data form that can be revised and regenerated throughout the creative process. In this thesis, digital painting practice is therefore positioned not merely as a technological innovation, but as an autonomous, process-driven field of expression that reopens discussions on the ontology of contemporary art and the viewer's experience.

A painting is the transfer of the artist's imagination, which has gone through many stages, onto an object with an aesthetic and technical language. In this sense, painting, poetry, literature, etc. Productions belonging to art disciplines such as art are communication tools that carry the thoughts of the artist. Artist's works are also thought, synthesized, planned, interpreted and applied technically in the originality of the creative individual. The painters' search for description has continued actively in every period of the artistic history of humanity. Line, from cave art to the present, is the most powerful and important pictorial depiction tool. Line in painting; It is the most decisive of the means of expression of the artist's image. In major fine arts disciplines such as printmaking, drawing, painting and sculpture, line is used with very different techniques. Line can convey the idea in the mind of the artist in ways of expression, and the aesthetic, by abstracting it with a special language. The line conveys the emotional effect desired by the artist, who conveys the desired form to a special language, to the viewer aesthetically. With line, we can sense and express our thought as a form. It is used as the most important tool in all fields such as image creation, design, planning and engineering. Line, which is the most important tool of painting, has preserved its place in fine arts until today and continues to function in visual works designed in digital environments. Within the scope of this study, two artists who actively use the line, which is a pictorial representation element, and create an expression through drawing without the need for color and volume; Selected works from the works of Joseph Beuys and Jean Dubuffet were examined and analyzed.

This study, which examines the structural transformation generated by digital technologies in art production practices with a specific focus on "digital painting," centers on a contemporary art environment in which technology has evolved from being a passive tool into a constitutive component of aesthetic construction. Conducted within the framework of classical qualitative research, the study has been structured and expanded in alignment with Practice-Based Research, which positions the artist's own production experience as the primary data source. The research process has been carried out along two interrelated and mutually nourishing axes: theoretical grounding and artistic practice. In the first axis, the historical origins of digital painting, pixel-based aesthetics, and human-computer interaction have been analyzed through relevant literature. In the second main axis, 10 original digital painting works produced by the researcher using Adobe Fresco (version 5.70) have been evaluated through qualitative content analysis regarding technical proficiency, layer structure, and surface simulation. Throughout this process, the stages of creation—from the preliminary sketch to the final design—have been systematically recorded to make the artist's relationship with the digital interface visible. The research findings demonstrate that the material, compositional, and expressive conventions of traditional painting discipline give rise to a hybrid aesthetic model intertwined with the affordances of the digital environment, such as undo, iterative variation, layer management, and AI-assisted tools. This flexibility offered by the digital interface transforms the artist's perception of time and space, converting the artwork from a "finished object" into an updatable data form that can be revised and regenerated throughout the creative process. In this thesis, digital painting practice is therefore positioned not merely as a technological innovation, but as an autonomous, process-driven field of expression that reopens discussions on the ontology of contemporary art and the viewer's experience.