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GRAFİK TASARIMDA ZEKÂNIN YENİ BİÇİMİ: YARATICILIĞIN YAPAY YÜZÜ

Yıl 2025, Cilt: 3 Sayı: 2, 6 - 14, 29.12.2025

Öz

Bu araştırma, yapay zekâ teknolojilerinin grafik tasarım alanındaki yaratıcı üretim süreçlerini nasıl dönüştürdüğünü ve bu dönüşümün tasarımcının rolüne nasıl yeni anlamlar kazandırdığını incelemektedir. Nitel araştırma yaklaşımıyla yürütülen çalışma, mevcut literatürü derinlemesine analiz ederek yapay zekânın tasarıma kattığı estetik, kavramsal ve etik boyutları bütüncül bir bakış açısıyla değerlendirmektedir.
Elde edilen bulgular, yapay zekânın grafik tasarımda yalnızca üretim süreçlerini hızlandıran bir teknik araç olmanın ötesine geçerek, yaratıcı düşüncenin biçimlenmesinde etkin bir ortak hâline geldiğini göstermektedir. Bu durum, tasarımcının karar verme sürecini yeniden tanımlamakta; yaratıcılığın artık yalnızca bireysel sezgiye değil, insan ve makine arasındaki etkileşimli işbirliğine dayandığını ortaya koymaktadır.
Sonuç olarak, yapay zekânın grafik tasarım pratiğine dâhil oluşu, estetik yargıların, özgünlük kavramının ve mesleki özerkliğin anlamını dönüştürmektedir. Tasarımcı, artık yalnızca biçim üreten bir uygulayıcı değil; teknolojik sistemlerle iş birliği yapan, aynı zamanda bu sistemlerin etik sınırlarını ve yaratıcılık üzerindeki etkilerini sorgulayan bir özne konumuna evrilmiştir.

Kaynakça

  • Adrian, F. (1989). Signs and Symbols: Their Design and Meaning. Van Nostrand Reinhold.
  • Bahtiyar, Ü. (2019). Plastik Sanatlar Alanındaki Görsel Anlatımda Ritim. Akademik Sosyal Araştırmalar Dergisi (37), 239-254. http://dx.doi.org/10.16990/SOBIDER.497
  • Barthes, R. (1964). Rhetoric of the Image. Communications, 4 (1), 40–51. http://dx.doi.org/10.3406/comm.1964.1027
  • Benjamin, W. (2012). The Work of Art in the Age of Mechanical Reproduction. Prism Key Press.
  • Besold, T. R., Schorlemmer, M., & Smaill, A. (2015). Computational Creativity Research: Towards Creative Machines. Atlantis Press.
  • Boden, M. A. (1998). Creativity and Artificial Intelligence. Artificial Intelligence. 103, 347-356. https://doi.org/10.1016/S0004-3702(98)00055-1
  • Boden, M. A. (2004). The Creative Mind: Myths and Mechanisms. Routledge.
  • Boden, M. A. (2016). AI: Its Nature and Future. Oxford University Press.
  • Bono, E. D. (1970). Lateral Thinking: Creativity Step by Step. Harper&Row.
  • Buolamwini, J., & Gebru, T. (2018). Gender Shades: Intersectional Accuracy Disparities in Commercial Gender Classification.
  • Proceedings of the 1st Conference on Fairness, Accountability and Transparency. 81 (1) 77–91.
  • Burrell, J. (2016). How the Machine 'Thinks: Understanding Opacity in Machine Learning Algorithms. Big Data & Society, 3, 1-12. https://doi.org/10.1177/2053951715622512
  • Candy, L., & Edmonds, E. (2018). The Role of the Artist in Interactive Art as Co-Creator. Candy. L, Ferguson. S (Eds)., Interactive Experience in the Digital Age. 51 (1), 55–62. Sipringer, https://doi.org/10.7146/mediekultur.v31i58.17457
  • Colton, S. (2012). The Painting Fool: Stories from Building an Automated Painter. J. McCormack, & M. d’Inverno içinde, Computers and Creativity. Springer.
  • Crawford, K. (2021). The Atlas of AI: Power, Politics, and the Planetary Costs of Artificial Intelligence. Yale University Press.
  • Diakopoulos, N. (2016). Accountability in Algorithmic Decision Making. Data & Society Research Institute, Communications of the ACM. 59 (2), 56-62. https://doi.org/10.1145/284411
  • Elgammal, A., Liu, B., Elhoseiny, M., & Mazzone, M. (June 20th-June 22nd, 2017, Jun 21). CAN: Creative Adversarial Networks, Generating "Art" by Learning About Styles and Deviating from Style Norms. 8. International Conference on Computational Creativity (ICCC). 1-22. Atlanta, GA: Arxiv. https://doi.org/10.48550/arXiv.1706.07068
  • Floridi, L., & Sanders, J. (2004, August). On the Morality of Artificial Agents. Minds and Machines, 14, 349–379. https://doi.org/10.1023/B:MIND.0000035461.63578.9d
  • Floridi, L., Cowls, J., Beltrametti, M., Chatila, R., Chazerand, P., Dignum, V., Vayena, E. (2018). AI4People An Ethical Framework for a Good AI Society: Opportunities, Risks, Principles, and Recommendations. Minds and Machines, 28(4), 689–707. https://doi.org/10.1007/s11023-018-9482-5
  • Gervais, D. J. (2019). The Machine As Author. Lowa Law Review, 105, 2053-2106. https://ssrn.com/abstract=3359524
  • Goodfellow, I. J., Pouget-Abadie, J., Mirza, M., Xu, B., Warde-Farley, D., Ozair, S., Bengio, Y., (2014). Generative Adversarial Nets. Proceedings of the 27th International Conference on Neural Information Processing Systems. 2, 2672-2680. Montreal, Canada: MIT Press. Guilford, J. P. (1950). Creativity. American Psychologist, 5 (9) 444–454. http://dx.doi.org/10.1037/h0063487
  • Gunkel, D. J. (2018). Robot Rights. MIT Press.
  • Guy, J. (2000). The Culture of Design (Cilt 3). Sage Publications.
  • Hertzmann, A. (2018). Can Computers Create Art? Arts, 7 (2), 1-25. https://doi.org/10.1007/s13347-016-0231-5
  • Jobin, A., Ienca, M., & Vayena, E. (2019). The Global Landscape of AI Ethics Guidelines. Nature Machine Intelligence, 1(9), 389–399.
  • Manovich, L. (2013). Software Takes Command. Bloomsbury Publishing. https://doi.org/10.1038/s42256-019-0088-2
  • Margolis, J. (2009). The Arts and the Definition of the Human Toward a Philosophical Anthropolog. Stanford University Press.
  • McCormack, J., Gifford, T., & Hutchings, P. (2019). Autonomy, Authenticity, Authorship and Intention in Computer Generated Art. 8th International Conference on Computational Intelligence in Music, Sound, Art and Design (s. 35-50). Leipzig, Germany: Springer.
  • McCosker, A., & Wilken, R. (2020). Automating Creativity: Art, AI and the Curatorial. Media International Australia, 177 (1), 12–25.
  • Mihaly, C. (1996). Creativity: Flow and the Psychology of Discovery and Invention (Cilt 1). Harpercollins.
  • Rouquette, M. L. (2007). Yaratıcılık. Dost.
  • Runco, M. A., & Jaeger, G. J. (2012). The Standard Definition of Creativity. Creativity Research Journal, 24 (1), 92-96.
  • Russell, S., & Norvig, P. (2021). Artificial Intelligence: A Modern Approach. Pearson.
  • Searle, J. R. (1980). Minds, Brains, and Programs. Behavioral and Brain Sciences. 3(3), 417–424. Berkeley, California: Cambridge University Press.
  • Turing, A. M. (1950). Computing Machinery and Intelligence. JSTOR, 59 (236), 433–460.

The New Form Of Intelligence In Graphic Design: The Artificial Face Of Creativity

Yıl 2025, Cilt: 3 Sayı: 2, 6 - 14, 29.12.2025

Öz

This study examines how artificial intelligence (AI) technologies are transforming creative production processes in the field of graphic design and how this transformation redefines the designer’s role. Conducted within a qualitative research framework, the study provides a comprehensive analysis of existing literature to evaluate the aesthetic, conceptual, and ethical dimensions that AI introduces into design practice.
The findings reveal that AI has moved beyond serving merely as a technical tool that accelerates production processes; it has become an active collaborator in shaping creative thought. This shift reconfigures the designer’s position within the decision-making process, indicating that creativity is no longer grounded solely in individual intuition but increasingly in the dynamic collaboration between human and machine.
Ultimately, the integration of AI into graphic design practice transforms the meanings of aesthetic judgment, originality, and professional autonomy. The designer is no longer merely a practitioner who produces visual forms but an active agent who collaborates with technological systems while critically questioning their ethical boundaries and their influence on creativity.

Kaynakça

  • Adrian, F. (1989). Signs and Symbols: Their Design and Meaning. Van Nostrand Reinhold.
  • Bahtiyar, Ü. (2019). Plastik Sanatlar Alanındaki Görsel Anlatımda Ritim. Akademik Sosyal Araştırmalar Dergisi (37), 239-254. http://dx.doi.org/10.16990/SOBIDER.497
  • Barthes, R. (1964). Rhetoric of the Image. Communications, 4 (1), 40–51. http://dx.doi.org/10.3406/comm.1964.1027
  • Benjamin, W. (2012). The Work of Art in the Age of Mechanical Reproduction. Prism Key Press.
  • Besold, T. R., Schorlemmer, M., & Smaill, A. (2015). Computational Creativity Research: Towards Creative Machines. Atlantis Press.
  • Boden, M. A. (1998). Creativity and Artificial Intelligence. Artificial Intelligence. 103, 347-356. https://doi.org/10.1016/S0004-3702(98)00055-1
  • Boden, M. A. (2004). The Creative Mind: Myths and Mechanisms. Routledge.
  • Boden, M. A. (2016). AI: Its Nature and Future. Oxford University Press.
  • Bono, E. D. (1970). Lateral Thinking: Creativity Step by Step. Harper&Row.
  • Buolamwini, J., & Gebru, T. (2018). Gender Shades: Intersectional Accuracy Disparities in Commercial Gender Classification.
  • Proceedings of the 1st Conference on Fairness, Accountability and Transparency. 81 (1) 77–91.
  • Burrell, J. (2016). How the Machine 'Thinks: Understanding Opacity in Machine Learning Algorithms. Big Data & Society, 3, 1-12. https://doi.org/10.1177/2053951715622512
  • Candy, L., & Edmonds, E. (2018). The Role of the Artist in Interactive Art as Co-Creator. Candy. L, Ferguson. S (Eds)., Interactive Experience in the Digital Age. 51 (1), 55–62. Sipringer, https://doi.org/10.7146/mediekultur.v31i58.17457
  • Colton, S. (2012). The Painting Fool: Stories from Building an Automated Painter. J. McCormack, & M. d’Inverno içinde, Computers and Creativity. Springer.
  • Crawford, K. (2021). The Atlas of AI: Power, Politics, and the Planetary Costs of Artificial Intelligence. Yale University Press.
  • Diakopoulos, N. (2016). Accountability in Algorithmic Decision Making. Data & Society Research Institute, Communications of the ACM. 59 (2), 56-62. https://doi.org/10.1145/284411
  • Elgammal, A., Liu, B., Elhoseiny, M., & Mazzone, M. (June 20th-June 22nd, 2017, Jun 21). CAN: Creative Adversarial Networks, Generating "Art" by Learning About Styles and Deviating from Style Norms. 8. International Conference on Computational Creativity (ICCC). 1-22. Atlanta, GA: Arxiv. https://doi.org/10.48550/arXiv.1706.07068
  • Floridi, L., & Sanders, J. (2004, August). On the Morality of Artificial Agents. Minds and Machines, 14, 349–379. https://doi.org/10.1023/B:MIND.0000035461.63578.9d
  • Floridi, L., Cowls, J., Beltrametti, M., Chatila, R., Chazerand, P., Dignum, V., Vayena, E. (2018). AI4People An Ethical Framework for a Good AI Society: Opportunities, Risks, Principles, and Recommendations. Minds and Machines, 28(4), 689–707. https://doi.org/10.1007/s11023-018-9482-5
  • Gervais, D. J. (2019). The Machine As Author. Lowa Law Review, 105, 2053-2106. https://ssrn.com/abstract=3359524
  • Goodfellow, I. J., Pouget-Abadie, J., Mirza, M., Xu, B., Warde-Farley, D., Ozair, S., Bengio, Y., (2014). Generative Adversarial Nets. Proceedings of the 27th International Conference on Neural Information Processing Systems. 2, 2672-2680. Montreal, Canada: MIT Press. Guilford, J. P. (1950). Creativity. American Psychologist, 5 (9) 444–454. http://dx.doi.org/10.1037/h0063487
  • Gunkel, D. J. (2018). Robot Rights. MIT Press.
  • Guy, J. (2000). The Culture of Design (Cilt 3). Sage Publications.
  • Hertzmann, A. (2018). Can Computers Create Art? Arts, 7 (2), 1-25. https://doi.org/10.1007/s13347-016-0231-5
  • Jobin, A., Ienca, M., & Vayena, E. (2019). The Global Landscape of AI Ethics Guidelines. Nature Machine Intelligence, 1(9), 389–399.
  • Manovich, L. (2013). Software Takes Command. Bloomsbury Publishing. https://doi.org/10.1038/s42256-019-0088-2
  • Margolis, J. (2009). The Arts and the Definition of the Human Toward a Philosophical Anthropolog. Stanford University Press.
  • McCormack, J., Gifford, T., & Hutchings, P. (2019). Autonomy, Authenticity, Authorship and Intention in Computer Generated Art. 8th International Conference on Computational Intelligence in Music, Sound, Art and Design (s. 35-50). Leipzig, Germany: Springer.
  • McCosker, A., & Wilken, R. (2020). Automating Creativity: Art, AI and the Curatorial. Media International Australia, 177 (1), 12–25.
  • Mihaly, C. (1996). Creativity: Flow and the Psychology of Discovery and Invention (Cilt 1). Harpercollins.
  • Rouquette, M. L. (2007). Yaratıcılık. Dost.
  • Runco, M. A., & Jaeger, G. J. (2012). The Standard Definition of Creativity. Creativity Research Journal, 24 (1), 92-96.
  • Russell, S., & Norvig, P. (2021). Artificial Intelligence: A Modern Approach. Pearson.
  • Searle, J. R. (1980). Minds, Brains, and Programs. Behavioral and Brain Sciences. 3(3), 417–424. Berkeley, California: Cambridge University Press.
  • Turing, A. M. (1950). Computing Machinery and Intelligence. JSTOR, 59 (236), 433–460.
Toplam 35 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Plastik Sanatlar (Diğer)
Bölüm Araştırma Makalesi
Yazarlar

Hasan Asan 0009-0004-3021-5851

Gönderilme Tarihi 17 Ekim 2025
Kabul Tarihi 12 Aralık 2025
Yayımlanma Tarihi 29 Aralık 2025
Yayımlandığı Sayı Yıl 2025 Cilt: 3 Sayı: 2

Kaynak Göster

APA Asan, H. (2025). GRAFİK TASARIMDA ZEKÂNIN YENİ BİÇİMİ: YARATICILIĞIN YAPAY YÜZÜ. UMAY Sanat ve Sosyal Bilimler Dergisi, 3(2), 6-14.