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Both philosophers of perception and analytic metaphysicians apply the tropes/universals distinction when considering the ontological status of visual properties. One way of arguing in favour of the trope interpretation of visual properties is to claim that the way in which we visually experience properties makes it plausible to characterize them as tropes. In this article, I argue for a different position, namely that the way in which we visually experience properties provides a serious challenge for the trope interpretation, but not for an interpretation in terms of universals. More specifically, I claim that the trope interpretations of visual properties have problems accounting for the fact that ordinary, veridical visual experiences can present the properties of two objects as strictly similar.

This dissertation is about visual perception of material properties and their role in preparation for object handling. Usually before an object is touched or picked-up we estimate its size and shape based on visual features to plan the grip size of our hand. After we have touched the object, the grip size is adjusted according to the provided haptic feedback and the object is handled safely. Similarly, we anticipate the required grip force to handle the object without slippage, based on its visual features and prior experience with similar objects. Previous studies on object handling have mostly examined object characteristics that are typical for object recognition, e.g., size, shape, weight, but in the recent years there has been a growing interest in object characteristics that are more typical to the type of material the object is made from. That said, in a series of studies we investigated the role of perceived material properties in decision-making and object handling, in which both digitally rendered materials and real objects made of different types of materials were presented to human subjects and a humanoid robot. Paper I is a reach-to-grasp study where human subjects were examined using motion capture technology. In this study, participants grasped and lifted paper cups that varied in appearance (i.e., matte vs. glossy) and weight. Here we were interested in both the temporal and spatial components of prehension to examine the role of material properties in grip preparation, and how visual features contribute to inferred hardness before haptic feedback has become available. We found the temporal and spatial components were not exclusively governed by the expected weight of the paper cups, instead glossiness and expected hardness has a significant role as well. In paper II, which is a follow-up on Paper I, we investigated the grip force component of prehension using the same experimental stimuli as used in paper I. In a similar experimental set up, using force sensors we examined the early grip force magnitudes applied by human subjects when grasping and lifting the same paper cups as used in Paper I. Here we found that early grip force scaling was not only guided by the object weight, but the visual characteristics of the material (i.e., matte vs. glossy) had a role as well. Moreover, the results suggest that grip force scaling during the initial object lifts is guided by expected hardness that is to some extend based on visual material properties. Paper III is a visual judgment task where psychophysical measurements were used to examine how the material properties, roughness and glossiness, influence perceived bounce height and consequently perceived hardness. In a paired-comparison task, human subjects observed a bouncing ball bounce on various surface planes and judged their bounce height. Here we investigated, what combination of surface properties, i.e., roughness or glossiness, makes a surface plane to be perceived bounceable. The results demonstrate that surface planes with rough properties are believed to afford higher bounce heights for the bouncing ball, compared to surface planes with smooth properties. Interestingly, adding shiny properties to the rough and smooth surface planes, reduced the judged difference, as if surface planes with gloss are believed to afford higher bounce heights irrespective of how smooth or rough the surface plane is beneath. This suggests that perceived bounce height involves not only the physical elements of the bounce height, but also the visual characteristics of the material properties of the surface planes the ball bounces on. In paper IV we investigated the development of material knowledge using a robotic system. A humanoid robot explored real objects made of different types of materials, using both camera and haptic systems. The objects varied in visual appearances (e.g., texture, color, shape, size), weight, and hardness, and in two experiments, the robot picked up and placed the experimental objects several times using its arm. Here we used the haptic signals from the servos controlling the arm and the shoulder of the robot, to obtain measurements of the weight and hardness of the objects, and the camera system to collect data on the visual features of the objects. After the robot had repeatedly explored the objects, an associative learning model was created based on the training data to demonstrate how the robotic system could produce multi-modal mapping between the visual and haptic features of the objects. In sum, in this thesis we show that visual material properties and prior knowledge of how materials look like and behave like has a significant role in action planning.

Arburg Plastic Freeforming (APF) is an additive manufacturing process with which three-dimensional, thermoplastic components can be produced layer by layer. Visual and geometrical properties are a major criterion for characterizing the resulting component quality. The aim of this study was to investigate the influences on visual and geometrical properties of APF components depending on process parameters. Initially the focus was on the analysis of the shrinkage behavior of ABS-M30 (Stratasys). On the basis of the results and an existing procedure by the machine manufacturer, an optimized procedure for determining the scaling factors was developed to counteract the shrinkage. With this procedure a higher dimensional accuracy of the components can be achieved. In addition, it was investigated whether an adaption of the form factor based on a mathematical model depending on the component geometry makes sense. The results were transferred into manufacturing guidelines, which allow the user of the APF-technology to optimize process parameters more efficiently.

İnsanoğlu ateşi bulduğu andan itibaren, ona hükmetmeye çalışmış ve hayatının vazgeçilmez bir olgusu olmuştur. Sanat tarihi de altın çağını, ışığa hükmeden usta sanatçılarla Rönesans'da yaşamıştır. Tıpkı ilk fotoğrafı yakalayan Niepce 'in ışığı yakalayıp yeni bir altın çağı başlatması gibi… Niepce'den günümüze kadar gelişen teknoloji bizlere ışığın hiç bilmediğimiz özelliklerini, kaynaklarını ve ona nasıl hükmedeceğimizi öğrenmiştir.Bu teknoloji, fotoğraf sanatçısına ışığın önemini derinlemesine göstermiş oldu. Fakat sadece ışığa hükmetmek yeterli değildir. Çünkü fotoğraf kadrajına giren her türlü şematik öğenin sanatsal kavramı, birbiri ile nasıl etkileşime girdiği ve oluşturulan soyut biçimlerin amaçları bilinmeli ve uygulamaya dökülmelidir.Her sanat dalında olduğu gibi, sanatın gelişip yenilikler ortaya konulabilmesi için her çırak ustasını geçebilmeli ve özgün bir biçim dili ortaya koymalıdır. Bunu gerçekleştirebilmek için ise geçmişte ve günümüzdeki usta sanatçıların vizörlerini iyi analiz edip sentez oluşturulabilmeli ki sanatçı hem gözünü hem kendini hem de bakış açısını geliştirebilsin. Böylelikle fotoğraf sanatı nesilden nesile gelişip özgün üretimler ortaya koyabilecektir. From the moment mankind discovered fire, he has tried to rule it and it became an indispensable fact of his life. History of art also lived its golden age with master artists who rule the light in the Renaissance. Just like Niepce taking the first photograph, thus capturing the light and starting a new golden age. Technology that has evolved from Niepce to this day has taught us the qualities and resources about light we never knew of, and how to rule it.This technology has shown in depth the importance of light to the photographer. But it is not enough to just rule the light. Because the artistic concept of any kind of schematic elements that enter the photo frame, how they interact with each other, and the purpose of the abstract forms that are created must be known and applied. As in every field of art, in order for art to develop and innovate, every apprentice must be able to surpass the master and reveal an original language of form. In order to accomplish this, visions of past and present master artists should be analyzed and synthesized well, so that the artist can develop his eyes, himself and his vision. Thus, the art of photography will be able to develop from generation to generation and create original productions. 122

In this dissertation, I argue that visual composition tools should reify visual properties— that is, create them into first-class, interactive objects that designers can manipulate, directly in the document. Artists and designers use visual properties such as color, typography,size, and position to create novel composition concepts. Most visual composition tools treat graphical elements as objects— but not their visual properties. The latter are simply attributes of graphical elements, usually accessible on demand, through property sheets or dialog boxes, rather than as independen tinteractive objects.I begin with an introduction, where I outline the dissertation and summarise the main contributions.Then, I present a conceptual overview, where I argue that perception, expertise, theories and existing representations of visual properties affect how designers manipulate them in their work. In the related worksection, I identify the main approaches visual composition tools propose to manipulate visual properties.I explain the advantages and limitations of these approaches.I present a comparative structured observation study (Chapter 4) where graphic designers perform visual composition tasks in Adobe Illustrator. Designers preferred tools that provide direct access to visual properties.They use these visual properties to complete visual composition tasks such as alignment and distribution.I then present two interview studies (Chapter5, Chapter 6) that examined artists’ and designers’practices as they manipulate color and create layouts in their projects. Artists and designers create personal color representations. They manipulate each color in the context of its surrounding graphical elements,and combine it with other visual properties such as texture. As they create their layouts, designers establish links among visual properties such as size,position, and layering of graphical elements. They define rules for how these properties change in space,across instances of the same composition, or in time,across related compositions.Based on these observations, two groups of prototypes (Chapter 7) demonstrate how we can reify visual properties into first-class graphical objects. ColorPartner supports creating personal representations of the color manipulation process. Color Revealer permits creating informative color representations of how a process evolves. Palette Explorer supports manipulatingvisual properties of color swatches, such as size, position and layering, in the context of surrounding colors. Color Compositor supports manipulating the combination of colors and textures. Linkify supports linking visual properties directly in the documentand defining rules for how these links evolve as the content changes. Contextify supports creating rules that define how visual properties change across instances of a composition. In two follow up studies,designers explain how they intend to use these tools in their current projects..I conclude with a summary of the contributions(Chapter 8) and a discussions of the limitations and future work.; Les graphistes utilisent des propriétés visuelles comme la couleur, la police de caractères typographiques, la taille ou la position pour construire et communiquer leurs concepts visuels. La plupart des outils numériques de composition considèrent les propriétés visuelles comme simples attributs. Ces propriétés sont accessibles, quand l’objet est sélectionné,via des boîtes de dialogue, sans êtres considérées comme objets indépendants dans l’interface. Cette thèse porte sur la réification des propriétés visuelles des objets graphiques pour les tâches de composition.Je soutiens l’importance de créer des outils de composition qui permettent de manipuler les propriétés visuelles directement, sans passer par des menus ou des boîtes de dialogue.La manipulation des propriétés visuelles dépend de la perception des propriétés, de l’expertise de l’utilisateur et de leur représentations sur l’interface.Elle dépend également des outils existants pour manipuler les propriétés visuelles dans le contexte de travail. Les outils numériques de composition utilisent principalement des boîtes de dialogue. Certains travaux de recherche soutiennent l’importance de faire évoluer les boîtes de dialogues, et proposent des boîtes de dialogues plus interactives. D’autres travaux proposent de nouvelles manières de représenter et de manipuler les propriétés visuelles.Les graphistes préfèrent les outils qui agissent directement sur les propriétés visuelles. Ils adaptent ces propriétés, pour les utiliser comme outils leur permettant de compléter des tâches comme l’alignement et l’espacement.Les artistes et les designers travaillent en développant leurs propres représentations des espaces de couleur. Ils manipulent chaque couleur, dans le contexte des autres couleurs utilisées dans le même document.Leurs choix de couleur dépendent également d’autres propriétés visuelles comme la texture, la matière, ou la luminosité. En créant leurs mise en page, les graphistes établissent des liens entre les propriétés spatiales comme la position, la taille, et la superposition des éléments graphiques. Ils créent des règles pour définir comment ces liens évoluent dans un même document, ou entre différents documents.Deux groupes d’outils proposent des exemples de la réification des propriétés visuelles pour des tâches de composition. Deux études avec des designers présentent différentes utilisations envisagées pour ces outils.Chaque utilisateur présente des exemples de projets spécifiques dans lesquels ces outils faciliteront leurs tâches de composition, et comment ils leur permettront d’obtenir les rendus recherchés.

International audience; Seven experiments tested, whether when naming a colored object (e.g., CAR), its color (e.g., red) is phonologically encoded. In the first experiment, adults had to say aloud the names of colored line drawings of objects that were each displayed among 3 black-and-white line drawings (Experiment 1a) or that were presented alone (Experiment 1b). Naming times were shorter in Experiment 1a, but not in Experiment 1b, when both the color and object names were phonologically related (e.g., blue ball). In Experiment 2a, adults had to name objects having diagnostic colors (e.g., banana, tomato) while hearing distractor words. Compared with unrelated distractors, object naming times were longer when the distractors were phonologically related to the names of the colors, indicating that the names of the colors were activated. In Experiment 2b, this inhibitory effect did not surface when the same pictures were displayed in black and white, indicating that it originates from the perceptual level. In Experiment 3a, we used the same paradigm as in Experiment 2 (a and b) with objects having "plausible," but nondiagnostic, colors (e.g., red CAR). The inhibitory effect of color-related distractors turned out to be reliable but it vanished when regular colored-line drawings were used (Experiment 3b) and when colors and objects were spatially segregated (Experiment 3c). Taken together, the findings strongly suggest that under certain circumstances, an object's properties are phonologically activated during object naming. These findings are accounted for in terms of the general attentional view of cascading of Oppermann, Jescheniak, Schriefers, and Görges (2010).

In this paper, the capacity of visual information on the image is calculated. The number of perceptible brightness levels and the number of minimum perceptible areas at photopic vision are obtained from the visual properties. These values correspond to the length and kind of the sign in the information theory. First, the capacity of visual information on image is calculated. Then, the amount of visual information digital color image is calculated. The calculation of visual information on digital color image is performed to actual digital color image, and the amount of visual information is presented quantitatively.

Dot arrays are often used to study basic numerical skills across cultures, species and development. Researchers investigate the ability of subjects to discriminate between dot arrays, as a function of the ratio or distance between their numerosities. Such studies have contributed significantly to the number sense theory (i.e., that humans are born with the ability to process numerosities, and share this ability with various species)—possibly the most influential theory in numerical cognition literature today. However, a dot array contains, in addition to numerosity, continuous properties such as the total surface area of the dots, their density, etc. These properties are highly correlated with numerosity and therefore might influence participants' performance. Different ways in which different studies choose to deal with this confound sometimes lead to contradicting results, and in our opinion, do not completely eliminate the confound. In this work, we review these studies and suggest several possible reasons for the contradictions in the literature. We also suggest that studying continuous properties, instead of just trying to control them, may contribute to unraveling the building blocks of numerical abilities.

Bu çalışma ?İlköğretim Birinci Kademe Öğrencilerine Yönelik Çocuk Hikaye Kitaplarında Görsel Düzen ve Tipografi? kapsamında ele alınmıştır. Araştırma sürecinde okul kitaplıklarından seçilen 9 adet resimli çocuk hikaye kitabınınincelenebilmesi için sorular hazırlanmıştır. Alanında uzman yazar çizer ve akademisyenlerin bu sorulara verdikleri yanıtlar spss programında karşılaştırılmış ve anlamlı farklılıklar ortaya çıkmıştır. Bu bağlamda çocuk hikaye kitaplarında kullanılanresimlerin nasıl olması gerektiği, işlevleri, kitabın fiziksel özellikleri, yazı karakteriseçimi ve çocuğun kitapla olan ilişkisi incelenmiştir. Ayrıca araştırmanın amacı doğrultusunda ilköğretim birinci kademe öğrencilerine yönelik değerlendirme için seçilen çocuk hikaye kitaplarının uzmanlar tarafından değerlendirilmesi ile ortayaçıkan sonuçlarından bahsedilmektedir. Bu bağlamda, çocuklar için yazılan resimlihikaye kitaplarının tasarım, dil ve anlatım, ebat gibi biçimsel özelliklerinin ve görsel tasarım ilkelerinin dikkate alınarak, çocuklara en uygun hikaye kitabı yazımı ve tasarımı ile ilgili bir komisyon kurulmasının sağlanmasına yönelik öneriler sunulmuştur. Profesyonellerce yazılmış, uzmanlar tarafından çizilmiş, yaratıcı grafiktasarımcılar tarafından düzenlenmiş, pedagog tarafından onaylanmış, çocukların hayal dünyalarını geliştirici, yaş düzeylerine uygun, fiziksel ve zihinsel gelişimlerinitamamlamalarına destek olan hikaye kitaplarının basılması hedeflenmektedir.Çocuk hikaye kitaplarının sayısı her geçen gün artmaktadır. Alanla hiçbir ilgisiolmayan biriside istediği kitabı yazıyor. Olayın ticari boyutunun verimliliği pek çokilgisiz kişiyi bu alana yöneltmektedir.ivAraştırmada ?Çocuk ve Kitap? bölümünde; eğitimde kitabın yeri ve önemi, çocukkitaplarının çocuğun gelişim sürecine etkileri, çocuk resminin gelişim basamakları, resimli çocuk kitaplarının hedefleri, kitap tasarımında değerlendirme kriterleri, çocuk yayınlarının tasarım özellikleri ele alınmaktadır. ?Çocuk Hikaye Kitaplarında GörselDüzen? bölümünde; görsel unsurların sayfada kullanımı, boyut, kapak ve sayfatasarımı, kağıdın cinsi, cilt, resimlemeler, kompozisyon, renk seçimi, resim ve metin ilişkisine yer verilmektedir. ?Tipografi? bölümünde; tipografinin özellikleri, tipografininsayfa içinde kullanımı, harfler ve yazı karakteri seçimi ele alınmıştır. Araştırmada elde edilen bulgulara göre tasarım ilkeleri ve uzmanların görüşleri doğrultusundaaraştırmanın örneklemini oluşturan dokuz resimli çocuk hikaye kitabı, belirlenen ölçütlere göre incelenmiştir. This study has been examined in regards to the visual aspect and typography inchildren?s story boks for the first level of primary school students. During theresearch process, questions have been prepared in order to examine 9 unitsillustrated children's story book chosen from school library. Responses of he authordraws experts and scholars in this field to these questions, were compared in SPSSprogram and no significant differences emerged. In this respect,it has beeninspected how should be the pictures and their functions in children?s story books,book?s physical property,choice of typeface and the child?s relation with the book.Also,in accordance with the goal of the study,the results which emerge from primaryschool students? story books,chosen specifically to evaluate, are mentioned, whenthey have been evaluated by the authorities in this field. In thissense,recommendations have been made on establishing a commission todetermine how to create and design the most suitable story book for children ,byconsidering the stylistic properties and visual design principles such as design,language and expression, and size. It is targeted that the story books which hasbeen created by professionals, drawn by authorities, arranged by creative graphicsdesigners, confirmed by pedagogue and are also suitable for their age level andtriggering their imagination, helping them complete their physical and mentaldevelopment, will be published soon.viThe number of the children?s story books on the market is increasing day by day.Someone who is not qualified to write a book in this field, can also attempt this.Many unqualified people tend to this field by considering its commercial dimension.In this study, the role and the importance of the book on education, the influences ofchildren?s books to children?s development process, developmental stages ofchildren?s picture, the aims of illustrated children?s books,evaluation criteria on bookdesign and lastly design features of children?s publication have been inspected on?Child and Book? section. In the section about ?Visual Aspect on Children?s StoryBooks? it has been allocated for the usage of visual elements on the paper,size,cover and paper design, paper type, binding, illustrations, composition,determining of colour AND, correlation between picture and the text. In typographysection, features of typography, the usage of typography on the page, letters andchoice of typeface have been examined in detail.According to findings, attained in this study; 9 children?s story books, whichconstitute sample of the study, have been inspected in accordance with the designprinciples and reviews of authorities. 121

Bu çalışmanın amacı literatürdeki kabul görmüş görsel kalite metrikleri üzerine çalışma yapmak, onları faklı tahrifatlarda değerlendirmek ve onları kestirim doğruluğunu, monotonluğunu, tutarlılığını ve kompleksliğini dikkate alarak karşılaştırmaktır. Literatürdeki kalite metriklerinin algoritmaları ve kalite metrik performanslarını değerlendirmek için kullanılan parametreler üzerine çalışma yapılmıştır. Araştırma ayrıca İnsan Görsel Sistemi, görsel kalite metrik sınıflandırması ve öznel kalite değerlendirme metodlarını içermektedir. Kabul görmüş sekiz farklı görsel kalite metriğini karşılaştırmak için nesnel sonuçlar ve insan algısı arasındaki ilişkiyi gösteren deneysel sonuçlar alınmıştır. The aim of this study is to work on the visual quality metrics that are widely accepted in literature, to evaluate them on different distortion types and to give a comparison of overall performances in terms of prediction accuracy, monotonicity, consistency and complexity. The algorithms behind the quality metrics in literature and parameters used for quality metric performance evaluations are studied. This thesis also includes the explanation of Human Visual System, classification of visual quality metrics and subjective quality assessment methods. Experimental results that show the correlation between objective scores and human perception are taken to compare the eight widely accepted visual quality metrics. 78

İlköğretim çağına gelmiş çocukların, bu süre içerisinde ailesinden, çevresinden gözlemleyerek sistematik bir öğrenmenin dışında, etkileşim yoluyla öğrendiklerinin kullanılabilir kılınması için, okuma ve yazma temel bir gereksinimdir. Öğrenmenin anlamlı bir hale gelmesinde önemli araçlardan biri olan okuma ve yazma, hayatın en önemli gereksinimlerindendir. Bilgilerin duyguların, düşüncelerin ifadesinin kalıcılığı da yine okuma ve yazma ile mümkündür. Ayrıca ilköğretimin temelini ilkokuma ve yazma dersleri oluşturur. Bu bağlamda, nitelikli kitap resimlerinin, okumayı öğrenmenin yanı sıra, çocuğun soyut düşünmeye giden yolunu açması açısından önemlidir. Soyut düşünce yetisi gelişmiş bireylerin yer aldığı toplumlarda, estetik ve beğeni düzeyi yüksek, üretim verimli, ruhsal yapı güçlü, hayat ve mesleki tatmin oldukça üst seviyelerdedir.Bu araştırmada, İlköğretim 1.kademedeki 1. sınıf öğrencilerinin ilkokuma ve yazma derslerindeki sürecinin kolaylaştırılması açısından kullanılacak resim ve grafik gibi görsel elemanların mevcut ders kitaplarındaki durumunun araştırılması ve ilkokuma ders kitabında nitelikli görsellerin kullanılmasının gerekliliğinin ortaya çıkartılması amaçlanmıştır. Bu amaçla, İlköğretim 1.kademe 1.sınıfta ilkokuma ve yazma derslerinde kullanılan ders kitabında yer alan görsellerin hazırlanmasında tasarım ilke ve elemanları ne derece kullanılmıştır? problemine cevap aranan bu araştırmada, betimsel araştırma türlerinden olan tarama modeli kullanılmıştır.Araştırmanın evrenini, Ankara ili ilköğretim kurumlarında öğretmenlik yapan resim-iş öğretmenleri, örneklemini ise, Ankara ili ilköğretim kurumlarında öğretmenlik yapan 30 resim-iş öğretmeni oluşturmaktadır. Örneklem grubuna, ?İlkokuma ders kitaplarındaki görsellerin tasarım ilkelerine uygunluğu ve tasarım elemanlarının niteliğinin değerlendirilmesine ilişkin kriterler? den oluşan ve veri toplama aracı olarak kullanılan anket formu uygulanmıştır.Anahtar kelimeler: Grafik Tasarım, İllüstrasyon, İlkokuma Ders Kitabında Görseller, Görseller, Ders Kitapları, Ders Kitaplarında Görseller Have reached school age children, this time from within family by observing a systematic learning from the outside environment, they making reading and writing are basic requirements. Become important tools in a meaningful learning of reading and writing which are the more important requirements in the life. Knowledge of emotions and the thoughts expressed in the retention are also possible to read and write. Besides, first reading and writing courses from the basis primary school. In this context, quality of picture books, as well as learning to read, children?s abstract thinking is important to open the way. Abstract thinking skills developed in societies where individuals a high level of aesthetics and appreciation, production efficiency, strong spiritual life and job satisfaction is quite high levels.In this study, firs grade of primary school and their students in writing classes that will be used to facilitate the process of visual elements such as images and graphics available in textbooks and primary schools to investigate the status of the use of textbooks in the visual quality of the requirements was to be revealed. For this purpose, first grade of primary school?s textbooks. Used in writing classes in the preparation of visual design principles and elements used in which degree? This study sought answers to the problem, descriptive studies such as the screening model is used.The universe of study, picture of the teachers who taught in primary schools in Ankara province, the sample, as a teacher in primary schools in Ankara on 30 picture form teacher. Sample group, ?I am learning, reading and writing in conformity with the principles of textbook design of visual elements and design criteria for the evaluation of the nature? of this original compositions and used as a data collection tool was a questionnaire administered.Study examined the textbooks used in the visual, artistic arrangement principles of integrity, rhythm, ratio and proportion, balance, movement, contrast, emphasis by the principles are not suitable, as well as arrangements elements of colors, line, shape, texture, value, light-shadow, space elements have been found that are not suitable enough.Key words: graphic design, illustration, illustrations of in the primary school books, images, textbooks, visuals of in the course books. 135

Bu Tez çalışması görsel iletişim tasarımında kurumsal kimliğin önemini ve uygulama olarak İstanbul Üniversitesi'ni kapsamaktadır.Çalışmanın amacı; uygulanmış örnek olarak İstanbul Üniversitesi ele alınarak, kurumsal kimlik öğelerinin ve görsel iletişim tasarımının kurumsal kimlikte önemini genel olarak ortaya koymaktır.Bu çalışmamın kuramsal bölümünde, Görsel İletişim Tasarımında kurumsal kimliğin uygulama alanı olarak kurum ismi, alt kurum isimleri, semboller (logo, logotype), temel harf karakterler, renkler gibi unsurların kullanılarak Kurumsal Kimlik Tasarımının gereklilikleri belirtilecektir. Uygulama bölümünde ise Kurumsal kimlik unsurlarının tasarım unsurlarıyla birleştirilerek İstanbul Üniversitesi'ne uygulanması sağlanmıştır. Tasarlanan kurumsal kimlik öğeleri, antetli kağıt, zarf, davetiye, afiş, broşür vs. gibi uygulamalar halinde basılarak İstanbul Üniversitesi Rektörlüğü'nün Kurumsal Kimlik Kılavuzu ortaya konulacaktır.Bir kurumun kendisini temsil etme biçimlerinin bütünü, o kurumun kimliğini oluşturacak, kurumsal yapıdaki uygulanmış örnek kuruluşun, sundukları eğitim hizmetleri ele alınarak, tasarım öğelerini kullanmaları ve bu tasarımların bir kimlik çatısı altında toplanarak yazılı ve görsel hale getirilmesi gerçekleştirilecektirAyrıca, kurumsal kimlik çalışmalarında temel çalışmanın logo veya amblemi üzerine kurulmuş olması, logo ve amblem renklerinin her durumda aynı değerde basılması, fontların hiçbir zaman değişmemesi gibi zorunluluklar incelenecektir. This thesis study consists of institutional identity in visual communication design and İstanbul University in terms of practice.The purpose of the study is to put forth the regulating factors of corporation identity, the significance of visual communication design and corporation identity combination for consideration in general terms by taking Istanbul University as an instance.In theorical part of my study, Corporation Identitiy Design requirements will be emphesized by being used the items as a range of application of the Corporation identity the name of corporation within the context of Visual Communication Design, sub-corporation names, symbols (logos, logotype), basic letter characteristics, colours. In application part, the combination of Corporation Identity Elements with design elements? application to Istanbul University will be provided. By publishing the regulaiting factors of designed corporation idenitity in the forms of headed paper, envelope, display poster, brochure etc., with the example publishing of The Rectorate of İstanbul University the study will be shaped eventually.All kinds of the representations of the corporations, the example of the applied corporative insititution that will form the corporation identity will be transformed into visual and verbal status by considering their educational services they present and by using the design factors and to gather these designs in the concept of identitiy.Also, such obligations will be examined as the basic study?s emphasizing on logo or symbol in corporation identity studies, logos? and the colours of emblems? being published in same colour and same level and background?s never been changed under many circumstances. 158

The effect of ovalbumin net charge on aggregate morphology and visual properties was investigated using chromatography, electrophoresis, electron microscopy, and turbidity measurements. A range of differently charged ovalbumin variants (net charge ranging from -1 to -26 at pH 7) was produced using chemical engineering. With increasing net charge, the degree of branching and flexibility of the aggregates decreased. The turbidity of the solutions reflected the aggregate morphology that was observed with transmission electron microscopy. Increasing the stiffness of the aggregates transformed the solutions from turbid to transparent. Artificially shielding the introduced net charge by introducing salt in the solution resulted in an aggregate morphology that was similar to that for low-net-charge variants. The morphology of heat-induced aggregates and the visual appearance of the solutions were significantly affected by net charge. We also found that the morphology of ovalbumin aggregates can be rapidly probed by high-throughput turbidity experiments. © 2008 American Chemical Society.

The effect of ovalbumin net charge on aggregate morphology and visual properties was investigated using chromatography, electrophoresis, electron microscopy, and turbidity measurements. A range of differently charged ovalbumin variants (net charge ranging from -1 to -26 at pH 7) was produced using chemical engineering. With increasing net charge, the degree of branching and flexibility of the aggregates decreased. The turbidity of the solutions reflected the aggregate morphology that was observed with transmission electron microscopy. Increasing the stiffness of the aggregates transformed the solutions from turbid to transparent. Artificially shielding the introduced net charge by introducing salt in the solution resulted in an aggregate morphology that was similar to that for low-net-charge variants. The morphology of heat-induced aggregates and the visual appearance of the solutions were significantly affected by net charge. We also found that the morphology of ovalbumin aggregates can be rapidly probed by high-throughput turbidity experiments. © 2008 American Chemical Society.

Kurgu tekniği, genelde biçimsel açıdan sinemanın temel malzemesi olarak kabul edilengörüntünün düzenlenmesidir. Özelde ise yönetmenin gerçekleştirmek istediği amacı,anlatmak istediği sorunsalı ele alış şeklidir. Bu bağlamda kurgu, sinema filmlerinin enönemli yaratıcı öğelerinden biridir.Çalışmada, kurgu öğesinin ortaya çıkışı ve tarihsel gelişimi, sinemanın sanatolmasındaki rolü ve sinemacıların kurgunun gelişimine bakışı araştırılmıştır. Ayrıca,teknolojik gelişimle birlikte mekanik kurgudan, elektronik kurguya geçiş süreci deirdelenmiştir.Kurgunun fonksiyonları, ?kurgunun, sinemadaki görevini tamamladığı? yönündegeliştirilen görüşlere karşı durularak araştırılmıştır. Kurgunun, ?sinemadaki görevinisürdürdüğü yargısına varılmıştır. Çünkü sinema sanat olarak kalacaksa, kurgunun bugörevinin sürmesi sanatsal bir zorunluluktur. Bu sav, çağdaş filmlerden çıkartılanörnekler aracılığıyla da somutlaştırılmıştır.Anahtar Kelimeler: Sinema Sanatı, Kurgu, Görsel Yapı, Sinematografik Anlatım,Sayısal Teknoloji. The editing technique, in general is composing image which is accepted as primarymaterial of the cinema. In special, it is the aim of director that is wanted to realize or theprocess of a message that is wanted to tell. As a result, editing is an importantcomponent of a film.In this work, the emergence of editing and its historical evolution, the role of editing onmaking film to be an art discipline and the view of film makers to all this matter arestudied. In addition, along with the technological developments, the process of passingmechanical to electronic editing is examined. The function of editing is searched bybeing opposed to the view that behinds ?the editing completes its stage?. Conseguently,the opinion that behinds ?the editing continues its stage? is reached.If cinema is an art, this permanent function of editing will stay as an artistic necessity.This thesis is also concreted by giving samples from the contemporary films.Key Words: Cinema art, editing, visual structure, cinematographic expression, digitaltechnology. 119

Yeni toplumun yeni iletisim ortamı olan nternette artık kisilerin bilekendi fikirlerini açıklayabilecekleri iletisim araçları ortaya çıkmıstır. Teknolojikimkânların da artmasıyla mesaj iletimi de zenginlesmistir. Artık bu zenginolanaklarda farklı olmak, görsel iletisim ögelerinin bilinçli ve yerindekullanımıyla iyi bir tasarımdan geçmektedir.yi bir tasarım nasıl olur seklinde bir soruyla yola çıkılan çalısmamızdaöncelikli olarak kaynak taramasıyla görsel ögeler hakkında mevcut bilgilertoplanarak bir sınıflandırmaya gidilmistir. Bu çalısma sırasında çizgilerin nekadar etkili bir görsel öge oldukları ortaya çıkmıstır.kinci asamada ise ticari amaç güden bir sirket ve ticari amaçgütmeyen bir insanî yardım kurulusunun web siteleri seçilmistir. Buseçimlerde Türkiye kaynaklı olmaları ve dallarında en eski kurumlardan vegünümüzde sınıflarında en büyükleri olmaları sebebiyle Koç Holding veKızılay Dernegi web siteleri seçilmistir. Sitelerin incelemesinde web sitelerinin24.03.2007 tarihli sayfaları örnek alınmıstır. Diger sayfalara sekil olarak örneksablon teskil ettiginden sadece sitelerin ana sayfaları incelemeye alınmıstır.Sayfalar incelendiginde ticari kurulusun web sitesine ihtimamgösterdigi tespit edilmistir. Sitede görsel ögelerden renk ve çizgilerin gayetyerinde ve uyumlu kullanıldıgı görülmüstür. Kızılay derneginin ise ticarikurulus kadar basarılı olmadıgı görülmüstür.Anahtar Sözcükler1. nternet2. Web Sayfası3. Görsel Öge4. Tasarım In the nternet which is the new society?s new communication medium,new communication devices, which even enable people to express their ownideas, have emerged. As technology advances, expressing ideas hasbecome easier and more comfortable. In these circumstances, being differentrequires a good design along with an efficient and apt usage of visual meansof communication.In our study in which we started with the question of how a gooddesign can be thought out, we tried to make a classification by gatheringinformation by an initial scan of visual sources. During this study we realizedthe importance of lines as visual elements.In the second phase, we choose the web sites of a commercial and ofa non-commercial concerns. We choose Koç Holding and Turkish Kızılay forthey were originated in Turkey, are two of the oldest and are two of thelargest in their fields. We choose their pages dated 24.03.2007 forexamination. We choose only the front pages as they constitute examples forother pages of these sites.During and after the examination, we have observed that thecommercial one considered its website important. We have also observed inthis site an apt and efficient usage of visual elements such as color and line.But Kızılay association is not good as Koç Holding.Key words:1. Internet2. Web Page3. Visual Sources4. Design 103

Bu çalışmada sinematografik görüntüde gerçeklik hissinin nasıl yaratıldığı ve filmin görsel özelliklerinin gerçekçiliğe etkisi incelenmiştir. Teknolojideki gelişmelerle birlikte görüntülerin artık gerçeğe daha yakın olduğu ve izleyicileri daha çok etkilediği görülmektedir. Sinema, başlangıcından beri gerçeğe en yakın görüntüyü elde etmeye çalışmıştır. Bu bağlamda filmin anlatısından çok, görüntüyü oluşturan unsurların gerçeklik etkisi yaratıp yaratmadığının saptanması amaçlanmıştır.Bu amaçla çalışmada dünya sinemasından seçilen örnekler incelenmiştir. Bunlar; İtalyan Yeni Gerçekçiliğinin en önemli yapıtlarından olan Roma Açık Şehir (Roma Città Aperta, 1945) ve Bisiklet Hırsızları (Ladri Di Biciclette, 1948), son yıllarda yükselişe geçen Güney Amerika sinemasından Meksika yapımı Paramparça Aşklar, Köpekler (Amores Perros, 2000) ve Tanrıkent (Cidade de Deus, 2003) ile 90'larda sinemada gerçekçilikle ilgili önemli çalışmalardan biri olan Dogma akımının öncüsü Lars Von Trier'nin filmi Dogville (2003) ve yine son yılların en ilgi çekici fantastik filmlerinden biri olan Yüzüklerin Efendisi: Kralın Dönüşü'dür (Lord Of The Rings: Return Of The King, 2003).Çalışmada gerçek, hakikat, kurmaca, gerçekçilik; resimde, fotoğrafta ve sinemada gerçekçilikle ilgili kuramsal kısım oluşturulduktan sonra seçilen filmler çözümlenmiştir. Filmlerin incelenmesinde ?biçimsel çözümleme? yöntemi kullanılmıştır. ?Sinemada görüntü-gerçek ilişkisi? konusu belgesel sinemayı da kapsamasına karşın çalışmada sadece kurmaca filmler incelenmiştir.Film çözümlemeleri sonucunda ortaya çıkan bulgular, görsel özelliklerin filmin anlatmak istediği duygu ve düşünceyi aktarmada ve gerçekliği yansıtmada, anlatısal özelliklere göre daha etkili olduğu yönündedir. Buna göre sinemada gerçekçilik hissini yaratan en önemli unsur, görsel özelliklerin gerçeğe uygunluğudur.Anahtar Sözcükler:1.Sinema2.Gerçek3.Gerçekçilik4.Görüntü5.Biçimsel çözümleme This study examine how compose that feeling of truth in image of cinema and effect of visual characteristics of films to realism. Know that the images will be similar to truth with technological improvements and will affect viewers mostly. For the beginning of the cinema, it has endeavored to get most similar image to real life. The aim of this study is determined on compose to effect of truth by elements of images.The purpose of this study, analyze that samples of the worlds cinema. These are Rome, Open City (Roma Città Aperta,1945) and Bicycle Thieves (Ladri Di Biciclette, 1948) that are two of most important consequences of Italian New Realism; Amores Perros (2000) and City Of God (Cidade de Deus, 2003) that the films of South America; Dogville (2003) and a fantastic film: Lord Of The Rings: Return Of The King (2003).In this study, had composed that theoretical part about truth, real, fiction, realism; realism in paint, photography or cinema, than films that be chosen are analyzed. the method of to analyze films is ?formal analysis?.Although the subject that ?the relation between image and truth at cinema? contain documentary films, it had been examined only fictional films. Consequently, visual characteristics of films are more effective for representing of truth, than narrative characteristics.Key Words:1.Cinema2.Truth3.Realism4.Image5.Formal analysis 110

ÖZET Yüksek Lisans Tezi fiziksel ve görsel özellikleriyle bîr toplu konut modelinin oluşturulması Ayşe lanet ÇALIŞ Ankara Üniversitesi Fen Bilimleri Enstitüsü Peyzaj Mimarlığı Anabilin Dalı Danışman: Prof Dr. Halim PERÇİN Türkiye'de pek çok uygulamada görüldüğü üzere, toplu konut kavramı, konut ihtiyacım karşılamak üzere çok sayıda konutun, İmdi üretimi boyutuna indirgenmiştir. Anonim kullanıcılar için anar mevzuatının sınırlamaları çerçevesinde, standart konutlar ve niteliksiz çevreler yaratılmaktadır. Fiziksel, görsel ve sosyal etkileşim özellikleriyle bir yaşam çevresinin oluşumu için sorunun çözümünde; konuyla ilgili disiplinler arası işbirliği ve tasarımcı ile kullanıcı arasında doğrudan iletişimin kurulabildiği, kullanıcı katılımlı örgütlenme modelleri gerekmektedir. Toplu konut alanlarında, kullanıcı ihtiyaçlarının farklılığı ve zamana bağlı değişikliklerin karşılanabilmesi için tasarımda çeşitlilik ve esneklik kavramları önem kazanmalıdır. Hızla artan enerji açığı ve çevre sorunları nedeniyle, alanın seçiminde, yerleşim şemalarının geliştirilmesinde ve kullanım sırasında enerji etkin çözümler üretilmelidir. Çalışmada, Bao'da ve Türkiye'de toplu konut kavramının tarihsel gelişimi, bir toplu konut rmodelinin oluşum sürecindeki başlıklardan; konut alanın seçimi, arazi, kullanıcı ve konut analizi, konut ve çevresinin niteliğini belirleyen fiziksel ve görsel parametreler irdelenmiş, sosyal etkileşim özelliklerine de kısaca değinilmiştir. Konut-yaşam kalitesi arasındaki yakın ilişki vurgulanarak, konut üretiminde önem verilmesi gereken öğeler ve izlenmesi gereken yöntemle ilgili sonuçlar ortayaANAHTAR KELİMELER: Konut, toplu konut, Adimle dengeli konut mimarisi, konutta nitelik, kullanıcı katılımı ABSTRACT M.S. Thesis FORMING A MASS-HOUSING MODEL WITH PHYSICAL AND VISUAL PROPERTIES Ayşe İsmet ÇALIŞ Ankara University Graduate School of Natural and Applied Sciences Department of Landscape Architecture Supervisor: Prof. Dr. Halim PERÇİN As it has been observed in many applications in Turkey, the mass-housing concept is faultily reduced to the successive construction of a great number of houses to supply the housing needs. Within the limitations of housing laws, it has been created standard houses and poor quality environments for anonymous users. User-involved organizational models are required to solve the problem of forming a livable environment with physical, visual and social interaction properties, in which all related disciplines are closely cooperated and direct communications among designers and users are established In design, the assortment and flexibility concepts must be given higher importance for mass-housing areas in order to respond different user needs and emerging requirement changes by time. Due to the ever-increasing energy shortages and environmental problems, energy-efficient solutions must be found during the selection of site, development of settlement schemes, and utilization. In this study, a brief historical background is given on the development of mass- housing concept in West and in Turkey. Among the headlines of formation process of mass-housing model, the following headings are examined: site selection, land, user and house analysis, physical and visual parameters that determine the quality of a house and its environment The fundamental properties of social interaction are also briefly touched. The basic elements that must be given importance and the results of the method that must be followed are made explicit, by emphasizing the close relation between the house and life quality. 2002, 133 pages Keywords: House, mass-housing, climate responsive residential architecture, housing quality, user-involved 11 133