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December 26, 2025

Digital Painting Applications in the Interaction Between Technology and Art
Bekir Baba
PHD/Proficiency in Art Thesis – Gaziantep University / Institute of Social Sciences / Department of Painting – Advisor: Prof. Dr. Mustafa Cevat Atalay
Baba, B. (2025). Digital painting applications in the interaction between technology and art (Thesis No. 989476) [Proficiency in Art thesis, Gaziantep University, Institute of Social Sciences]. Council of Higher Education National Thesis Center.
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.
BEKİR BABA

Abstract

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.
Keywords: Digital painting, technology-art interaction, human-computer interaction
Published in: Council of Higher Education National Thesis Center
Type: PHD/Proficiency in Art Thesis
Advisor: Prof. Dr. Mustafa Cevat Atalay
Cite (APA): Baba, B. (2025). Digital painting applications in the interaction between technology and art (Thesis No. 989476) [Proficiency in Art thesis, Gaziantep University, Institute of Social Sciences]. Council of Higher Education National Thesis Center.

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In the Recess of Time: Ancient Ruins and New Migrants
Sergi Afişi

The series In the Recess of Time: Ancient Ruins and New Migrants consists of digital paintings that bring together the landscapes of ancient cities in Anatolia and flocks of flamingos. Archaeological sites such as Letoon, Side, Pergamon, Amastris, Knidos, Zeugma, Assos, Priene, Blaundus, and Alahan Monastery are presented as stone remains representing historical continuity, placed side by side on the same surface with “new migrants” that shift from one place to another.

The scenes in the series are not merely touristic landscape images depicting a single moment. They are constructed as hybrid scenes in which different layers of time intersect within the same frame: the historical trace of ancient ruins and the fragility of contemporary ecological reality. In this way, the viewer experiences a simultaneous encounter with both the archaeological past and the present-day mobility of migratory birds; the tension between the settled and the nomadic becomes visible.

These works demonstrate that software-based tools such as layers, masks, texture, and color management in the process of pixel-based digital painting are not merely technical conveniences, but active components that shape the aesthetic construction itself. The multilayered surfaces built using Adobe Fresco and a graphic tablet combine light, color transitions, and texture with a labor-intensive process of handwork and decision-making, similar to brushwork on canvas.

The series is positioned in the practical section of the proficiency in art / doctoral dissertation titled Digital Painting Practices in the Interaction of Technology and Art as a concrete example illustrating how digital painting redefines the concepts of originality, craftsmanship, and aesthetic value. In the Recess of Time invites the viewer to reconsider, through digital painting, both ancient cities and their present-day ecological and visual reality.

GALLERY

Alahan’s Silent Courtyard Opening to Light
Alahan’s Silent Courtyard Opening to Light
The Time Waiting for Amastris
The Time Waiting for Amastris
Stones Waiting in the Falling Light of Assos
Stones Waiting in the Falling Light of Assos
Shadows Waiting on the High Threshold of Blaundus
Shadows Waiting on the High Threshold of Blaundus
Knidos’s Threshold Facing the Light
Knidos’s Threshold Facing the Light
The Fragile Silence of Letoon
The Fragile Silence of Letoon
The Stones of Pergamon Speaking with the Wind
The Stones of Pergamon Speaking with the Wind
In Priene, in the Traces of the Silent Wind
In Priene, in the Traces of the Silent Wind
The Silent Witnesses of Side
The Silent Witnesses of Side
The Reborn Light of Zeugma
The Reborn Light of Zeugma
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December 15, 2021

From Thought to Form, in Painting, Linear Abstraction Joseph Beuys, the Case of Jean Dubuffet
Mustafa Cevat Atalay, Bekir Baba
IKSAD Journal - Journal of Institute of Economic Development and Social, 7(29), 21–32
Atalay, M. C., & Baba, B. (2021). From thought to form, in painting, linear abstraction Joseph Beuys, the case of Jean Dubuffet. Iksad Journal, 7(29), 21–32. https://doi.org/10.31623/iksad072903
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.
MUSTAFA CEVAT ATALAY, BEKİR BABA

Abstract

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.
Keywords: Line, Form, Expression, Joseph Beuys, Jean Dubuffet
Published in: IKSAD Journal - Journal of Institute of Economic Development and Social, 7(29), 21–32
Type: Article
Cite (APA): Atalay, M. C., & Baba, B. (2021). From thought to form, in painting, linear abstraction Joseph Beuys, the case of Jean Dubuffet. Iksad Journal, 7(29), 21–32. https://doi.org/10.31623/iksad072903
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August 02, 2019

Investigative Investigation of Images Related to the Sky Concept in Modern Turkish Painting
Bekir Baba
Master’s Thesis – Gazi University / Institute of Fine Arts / Department of Painting / Division of Painting – Advisor: Prof. Dr. Alaybey Karoğlu
Baba, B. (2019). Investigative investigation of images related to sky concept in modern Turkish painting (Thesis No. 588874) [Master’s thesis, Gazi University, Institute of Fine Arts]. Council of Higher Education National Thesis Center.
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.
BEKİR BABA

Abstract

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.
Keywords: Contemporary Turkish painting, art, sky, symbol, semiotics
Published in: Council of Higher Education National Thesis Center - Gazi University / Institute of Fine Arts / Department of Painting / Division of Painting
Type: Master’s Thesis
Advisor: Prof. Dr. Alaybey Köroğlu
Cite (APA): Baba, B. (2019). A semiotic analysis of images related to the concept of sky in contemporary Turkish painting (Thesis No. 588874) [Master’s thesis, Gazi University, Institute of Fine Arts]. Council of Higher Education National Thesis Center.

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