Quantcast
Jump to content


New Vulkan Extensions for Mobile: Maintenance Extensions


Recommended Posts

2021-06-14-01-banner.jpg

The Samsung Developers team works with many companies in the mobile and gaming ecosystems. We're excited to support our partner, Arm, as they bring timely and relevant content to developers looking to build games and high-performance experiences. This Vulkan Extensions series will help developers get the most out of the new and game-changing Vulkan extensions on Samsung mobile devices.

Android is enabling a host of useful new Vulkan extensions for mobile. These new extensions are set to improve the state of graphics APIs for modern applications, enabling new use cases and changing how developers can design graphics renderers going forward. In particular, in Android R, there has been a whole set of Vulkan extensions added. These extensions will be available across various Android smartphones, including the Samsung Galaxy S21, which was recently launched on 14 January. Existing Samsung Galaxy S models, such as the Samsung Galaxy S20, also allow upgrades to Android R.

One of these new Vulkan extensions for mobile are ‘maintenance extensions’. These plug up various holes in the Vulkan specification. Mostly, a lack of these extensions can be worked around, but it is annoying for application developers to do so. Having these extensions means less friction overall, which is a very good thing.

VK_KHR_uniform_buffer_standard_layout

This extension is a quiet one, but I still feel it has a lot of impact since it removes a fundamental restriction for applications. Getting to data efficiently is the lifeblood of GPU programming.

One thing I have seen trip up developers again and again are the antiquated rules for how uniform buffers (UBO) are laid out in memory. For whatever reason, UBOs have been stuck with annoying alignment rules which go back to ancient times, yet SSBOs have nice alignment rules. Why?

As an example, let us assume we want to send an array of floats to a shader:

#version 450

layout(set = 0, binding = 0, std140) uniform UBO
{
    float values[1024];
};

layout(location = 0) out vec4 FragColor;
layout(location = 0) flat in int vIndex;

void main()
{
    FragColor = vec4(values[vIndex]);
}

If you are not used to graphics API idiosyncrasies, this looks fine, but danger lurks around the corner. Any array in a UBO will be padded out to have 16 byte elements, meaning the only way to have a tightly packed UBO is to use vec4 arrays. Somehow, legacy hardware was hardwired for this assumption. SSBOs never had this problem.

std140 vs std430

You might have run into these weird layout qualifiers in GLSL. They reference some rather old GLSL versions. std140 refers to GLSL 1.40, which was introduced in OpenGL 3.1, and it was the version uniform buffers were introduced to OpenGL.

The std140 packing rules define how variables are packed into buffers. The main quirks of std140 are:

  • Vectors are aligned to their size. Notoriously, a vec3 is aligned to 16 bytes, which have tripped up countless programmers over the years, but this is just the nature of vectors in general. Hardware tends to like aligned access to vectors.
  • Array element sizes are aligned to 16 bytes. This one makes it very wasteful to use arrays of float and vec2.

The array quirk mirrors HLSL’s cbuffer. After all, both OpenGL and D3D mapped to the same hardware. Essentially, the assumption I am making here is that hardware was only able to load 16 bytes at a time with 16 byte alignment. To extract scalars, you could always do that after the load.

std430 was introduced in GLSL 4.30 in OpenGL 4.3 and was designed to be used with SSBOs. std430 removed the array element alignment rule, which means that with std430, we can express this efficiently:

#version 450

layout(set = 0, binding = 0, std430) readonly buffer SSBO
{
    float values[1024];
};

layout(location = 0) out vec4 FragColor;
layout(location = 0) flat in int vIndex;

void main()
{
    FragColor = vec4(values[vIndex]);
}

Basically, the new extension enables std430 layout for use with UBOs as well.

#version 450
#extension GL_EXT_scalar_block_layout : require

layout(set = 0, binding = 0, std430) uniform UBO
{
    float values[1024];
};

layout(location = 0) out vec4 FragColor;
layout(location = 0) flat in int vIndex;

void main()
{
    FragColor = vec4(values[vIndex]);
}

Why not just use SSBOs then?

On some architectures, yes, that is a valid workaround. However, some architectures also have special caches which are designed specifically for UBOs. Improving memory layouts of UBOs is still valuable.

GL_EXT_scalar_block_layout?

The Vulkan GLSL extension which supports std430 UBOs goes a little further and supports the scalar layout as well. This is a completely relaxed layout scheme where alignment requirements are essentially gone, however, that requires a different Vulkan extension to work.

VK_KHR_separate_depth_stencil_layouts

Depth-stencil images are weird in general. It is natural to think of these two aspects as separate images. However, the reality is that some GPU architectures like to pack depth and stencil together into one image, especially with D24S8 formats.

Expressing image layouts with depth and stencil formats have therefore been somewhat awkward in Vulkan, especially if you want to make one aspect read-only and keep another aspect as read/write, for example.

In Vulkan 1.0, both depth and stencil needed to be in the same image layout. This means that you are either doing read-only depth-stencil or read/write depth-stencil. This was quickly identified as not being good enough for certain use cases. There are valid use cases where depth is read-only while stencil is read/write in deferred rendering for example.

Eventually, VK_KHR_maintenance2 added support for some mixed image layouts which lets us express read-only depth, read/write stencil, and vice versa:

VK_IMAGE_LAYOUT_DEPTH_ATTACHMENT_STENCIL_READ_ONLY_OPTIMAL_KHR

VK_IMAGE_LAYOUT_DEPTH_READ_ONLY_STENCIL_ATTACHMENT_OPTIMAL_KHR

Usually, this is good enough, but there is a significant caveat to this approach, which is that depth and stencil layouts must be specified and transitioned together. This means that it is not possible to render to a depth aspect, while transitioning the stencil aspect concurrently, since changing image layouts is a write operation. If the engine is not designed to couple depths and stencil together, it causes a lot of friction in implementation.

What this extension does is completely decouple image layouts for depth and stencil aspects and makes it possible to modify the depth or stencil image layouts in complete isolation. For example:

    VkImageMemoryBarrier barrier = {…};

Normally, we would have to specify both DEPTH and STENCIL aspects for depth-stencil images. Now, we can completely ignore what stencil is doing and only modify depth image layout.

    barrier.subresourceRange.aspectMask = VK_IMAGE_ASPECT_DEPTH_BIT;
    barrier.oldLayout = VK_IMAGE_LAYOUT_DEPTH_ATTACHMENT_OPTIMAL_KHR;
    barrier.newLayout = VK_IMAGE_LAYOUT_DEPTH_READ_ONLY_OPTIMAL;

Similarly, in VK_KHR_create_renderpass2, there are extension structures where you can specify stencil layouts separately from the depth layout if you wish.

typedef struct VkAttachmentDescriptionStencilLayout {
    VkStructureType sType;
    void*          pNext;
    VkImageLayout      stencilInitialLayout;
    VkImageLayout      stencilFinalLayout;
} VkAttachmentDescriptionStencilLayout;

typedef struct VkAttachmentReferenceStencilLayout {
    VkStructureType sType;
    void*          pNext;
    VkImageLayout  stencilLayout;
} VkAttachmentReferenceStencilLayout;

Like image memory barriers, it is possible to express layout transitions that only occur in either depth or stencil attachments.

VK_KHR_spirv_1_4

Each core Vulkan version has targeted a specific SPIR-V version. For Vulkan 1.0, we have SPIR-V 1.0. For Vulkan 1.1, we have SPIR-V 1.3, and for Vulkan 1.2 we have SPIR-V 1.5.

SPIR-V 1.4 was an interim version between Vulkan 1.1 and 1.2 which added some nice features, but the usefulness of this extension is largely meant for developers who like to target SPIR-V themselves. Developers using GLSL or HLSL might not find much use for this extension. Some highlights of SPIR-V 1.4 that I think are worth mentioning are listed here.

OpSelect between composite objects

OpSelect before SPIR-V 1.4 only supports selecting between scalars and vectors. SPIR-V 1.4 thus allows you to express this kind of code easily with a simple OpSelect:

    MyStruct s = cond ? MyStruct(1, 2, 3) : MyStruct(4, 5, 6);

OpCopyLogical

There are scenarios in high-level languages where you load a struct from a buffer and then place it in a function variable. If you have ever looked at SPIR-V code for this kind of scenario, glslang would copy each element of the struct one by one, which generates bloated SPIR-V code. This is because the struct type that lives in a buffer and a struct type for a function variable are not necessarily the same. Offset decorations are the major culprits here. Copying objects in SPIR-V only works when the types are exactly the same, not “almost the same”. OpCopyLogical fixes this problem where you can copy objects of types which are the same except for decorations.

Advanced loop control hints

SPIR-V 1.4 adds ways to express partial unrolling, how many iterations are expected, and such advanced hints, which can help a driver optimize better using knowledge it otherwise would not have. There is no way to express these in normal shading languages yet, but it does not seem difficult to add support for it.

Explicit look-up tables

Describing look-up tables was a bit awkward in SPIR-V. The natural way to do this in SPIR-V 1.3 is to declare an array with private storage scope with an initializer, access chain into it and load from it. However, there was never a way to express that a global variable is const, which relies on compilers to be a little smart. As a case study, let us see what glslang emits when using Vulkan 1.1 target environment:

#version 450

layout(location = 0) out float FragColor;
layout(location = 0) flat in int vIndex;

const float LUT[4] = float[](1.0, 2.0, 3.0, 4.0);

void main()
{
    FragColor = LUT[vIndex];
}

%float_1 = OpConstant %float 1
%float_2 = OpConstant %float 2
%float_3 = OpConstant %float 3
%float_4 = OpConstant %float 4
%16 = OpConstantComposite %_arr_float_uint_4 %float_1 %float_2 %float_3 %float_4

This is super weird code, but it is easy for compilers to promote to a LUT. If the compiler can prove there are no readers before the OpStore, and only one OpStore can statically happen, compiler can optimize it to const LUT.

%indexable = OpVariable %_ptr_Function__arr_float_uint_4 Function
OpStore %indexable %16
%24 = OpAccessChain %_ptr_Function_float %indexable %index
%25 = OpLoad %float %24

In SPIR-V 1.4, the NonWritable decoration can also be used with Private and Function storage variables. Add an initializer, and we get something that looks far more reasonable and obvious:

OpDecorate %indexable NonWritable
%16 = OpConstantComposite %_arr_float_uint_4 %float_1 %float_2 %float_3 %float_4

// Initialize an array with a constant expression and mark it as NonWritable.
// This is trivially a LUT.
%indexable = OpVariable %_ptr_Function__arr_float_uint_4 Function %16
%24 = OpAccessChain %_ptr_Function_float %indexable %index
%25 = OpLoad %float %24

VK_KHR_shader_subgroup_extended_types

This extension fixes a hole in Vulkan subgroup support. When subgroups were introduced, it was only possible to use subgroup operations on 32-bit values. However, with 16-bit arithmetic getting more popular, especially float16, there are use cases where you would want to use subgroup operations on smaller arithmetic types, making this kind of shader possible:

#version 450

// subgroupAdd
#extension GL_KHR_shader_subgroup_arithmetic : require

For FP16 arithmetic:

#extension GL_EXT_shader_explicit_arithmetic_types_float16 : require

For subgroup operations on FP16:

#extension GL_EXT_shader_subgroup_extended_types_float16 : require

layout(location = 0) out f16vec4 FragColor;
layout(location = 0) in f16vec4 vColor;

void main()
{
    FragColor = subgroupAdd(vColor);
}

VK_KHR_imageless_framebuffer

In most engines, using VkFramebuffer objects can feel a bit awkward, since most engine abstractions are based around some idea of:

MyRenderAPI::BindRenderTargets(colorAttachments, depthStencilAttachment)

In this model, VkFramebuffer objects introduce a lot of friction, since engines would almost certainly end up with either one of two strategies:

  • Create a VkFramebuffer for every render pass, free later.
  • Maintain a hashmap of all observed attachment and render-pass combinations.

Unfortunately, there are some … reasons why VkFramebuffer exists in the first place, but VK_KHR_imageless_framebuffer at least removes the largest pain point. This is needing to know the exact VkImageViews that we are going to use before we actually start rendering.

With imageless frame buffers, we can defer the exact VkImageViews we are going to render into until vkCmdBeginRenderPass. However, the frame buffer itself still needs to know about certain metadata ahead of time. Some drivers need to know this information unfortunately.

First, we set the VK_FRAMEBUFFER_CREATE_IMAGELESS_BIT flag in vkCreateFramebuffer. This removes the need to set pAttachments. Instead, we specify some parameters for each attachment. We pass down this structure as a pNext:

typedef struct VkFramebufferAttachmentsCreateInfo {
    VkStructureType                        sType;
    const void*                                pNext;
    uint32_t                                   attachmentImageInfoCount;
    const VkFramebufferAttachmentImageInfo*    pAttachmentImageInfos;
} VkFramebufferAttachmentsCreateInfo;

typedef struct VkFramebufferAttachmentImageInfo {
    VkStructureType   sType;
    const void*       pNext;
    VkImageCreateFlags flags;
    VkImageUsageFlags usage;
    uint32_t          width;
    uint32_t          height;
    uint32_t          layerCount;
    uint32_t          viewFormatCount;
    const VkFormat*   pViewFormats;
} VkFramebufferAttachmentImageInfo;

Essentially, we need to specify almost everything that vkCreateImage would specify. The only thing we avoid is having to know the exact image views we need to use.

To begin a render pass which uses imageless frame buffer, we pass down this struct in vkCmdBeginRenderPass instead:

typedef struct VkRenderPassAttachmentBeginInfo {
    VkStructureType   sType;
    const void*       pNext;
    uint32_t          attachmentCount;
    const VkImageView* pAttachments;
} VkRenderPassAttachmentBeginInfo;

Conclusions

Overall, I feel like this extension does not really solve the problem of having to know images up front. Knowing the resolution, usage flags of all attachments up front is basically like having to know the image views up front either way. If your engine knows all this information up-front, just not the exact image views, then this extension can be useful. The number of unique VkFramebuffer objects will likely go down as well, but otherwise, there is in my personal view room to greatly improve things.

In the next blog on the new Vulkan extensions, I explore 'legacy support extensions.'

Follow Up

Thanks to Hans-Kristian Arntzen and the team at Arm for bringing this great content to the Samsung Developers community. We hope you find this information about Vulkan extensions useful for developing your upcoming mobile games.

The Samsung Developers site has many resources for developers looking to build for and integrate with Samsung devices and services. Stay in touch with the latest news by creating a free account or by subscribing to our monthly newsletter. Visit the Marketing Resources page for information on promoting and distributing your apps and games. Finally, our developer forum is an excellent way to stay up-to-date on all things related to the Galaxy ecosystem.

View the full blog at its source

Link to comment
Share on other sites



  • Replies 0
  • Created
  • Last Reply

Top Posters In This Topic

Popular Days

Top Posters In This Topic

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Loading...
  • Similar Topics

    • By STF News
      Select Samsung Smart TV and Smart Monitor owners will now gain access to nearly 3,000 games as Antstream Arcade and Blacknut have been added to the Samsung Gaming Hub partner lineup, with the rollout starting today. Samsung makes it easy for players of all ages to find content and choose apps from industry-leading game streaming partners: Xbox, NVIDIA GeForce NOW, Amazon Luna, Utomik, and now over 1,400 games with arcade classics from Antstream Arcade, and over 500 premium family titles and exclusive games from Blacknut.1
       
      “Samsung Gaming Hub offers players more ways to access the titles they love and discover new ones to play from our game streaming partners, no console required,” said Mike Lucero, Head of Product Management for Gaming at Samsung Electronics. “With Antstream Arcade and Blacknut, we’ve made games even easier to jump into. Now all you need to do is pick up your Samsung TV remote to enjoy great games like ‘Pac-Man’ and ‘Who Wants to be a Millionaire?’, or pair your Bluetooth controller to access thousands of world-class games across genres. With more games and more ways to play, there has never been a better time to play games on Samsung Gaming Hub.”
       
      Antstream Arcade is the world’s largest cloud retro gaming service that provides players access to over 1,400 classic games and 500 mini-challenges. Play classic arcade games like “Galaga,” “Dig Dug” and “Double Dragon” through your Samsung Smart TV or Monitor via the Samsung Gaming Hub.
       
      Antstream Arcade is currently offering 12 months of access to the platform for $12 (or £12 or €12 depending on the region), a significant discount to play the platform’s extensive catalog of retro games.
       
      “Antstream Arcade delivers the best retro arcade video game streaming experience, and we’re proud to align with strong partners like Samsung Gaming Hub that can help us reach more players,” said Steve Cottam, CEO of Antstream Arcade. “We’ve experienced firsthand the excitement people have playing the games of their youth and sharing those games with the next generation of gamers.”
       
      In celebration of the launch, Antstream will be running a Samsung global tournament on the classic platformer spin master for a chance to win a lifetime subscription of Antstream and enter a prize draw to win one of three annual subscriptions. Anyone can enter the tournament at antstream.com.
       
      Blacknut is an online video game streaming service that offers instant access to hundreds of games. With a monthly subscription, players can choose from more than 500 premium games for the whole family, five simultaneously accessible player profiles and a game library available on a variety of screens.
       
      Curated and equipped with optional parental controls, the Blacknut gaming catalog also offers a wide range of options for younger users. A separate pin-protected profile allows junior gamers to delight in options such as Outright Games’ great adventures based on the most beloved children’s TV Shows including “PAW Patrol”2 and the “Gigantosaurus” series.
       
      Exclusively for Samsung consumers, thanks to its incorporation into the Samsung Gaming Hub, Blacknut will offer new users a 15-day free trial3 to explore the catalog and play any of its 500+ premium video games on select 2022 and 2023 Samsung TVs.
       
      “Blacknut is thrilled to partner with Samsung Gaming Hub and introduce our catalog to the popular game streaming platform,” said Nabil Laredj, VP, Business Development & Licensing at Blacknut. “With over 500 games and options for everyone, we are excited to be able to bring cloud gaming to the whole family in a whole new way.”
       
      Samsung Gaming Hub returns to Summer Game Fest in Los Angeles next week with more games, more screens and more ways to pick up and play than ever before — giving players a wider variety of choices in how they want to play. Antstream Arcade and Blacknut will be featured at the Samsung Gaming Hub booth, alongside Samsung Gaming Hub game streaming partners Xbox, NVIDIA GeForce Now, Amazon Luna and Utomik.
       
       
      1 Service availability for partners may vary by region. Antstream and Blacknut will be available in the U.S., Canada, U.K., Germany, France, Spain, Italy and Brazil.
      2 PAW Patrol and all related titles, logos and characters are trademarks of Spin Master Ltd.) Nickelodeon and all related titles and logos are trademarks of Viacom International Inc. — GIGANTOSAURUS TV SERIES. © CYBER GROUP STUDIOS. All trademarks and copyrights are property of their respective owners. All rights reserved.
      3 Until August 30, 2023, only available for new subscribers to Blacknut joining on the Samsung Gaming Hub.
      View the full article
    • By BGR
      Samsung makes the best Android tablets on the market right now. It would be difficult to argue otherwise. Amazon’s lineup of Fire tablets is impressive, but it’s mostly comprised of low-cost models for people on a budget. Meanwhile, Samsung’s lineup of Galaxy tablets spans everything from entry-level models to high-end flagships.
      Today, for one day only, Amazon is running an impressive sale on Samsung Galaxy tablets. The Samsung Galaxy S6 Lite is down to $269.99 instead of $430, and the high-end Galaxy Tab S8+ is $300 off at $599.99. Both of these deals are only available until the end of the day on Friday.

      SAMSUNG Galaxy Tab S6 Lite 10.4" 128GB Android Tablet, S Pen Included, Slim Metal Design, AKG D…
      Price: $269.99 (reg. $430)
      You Save: $160.00 (37%)
      Buy Now
      SAMSUNG Galaxy Tab S8+ 12.4” 128GB WiFi 6E Android Tablet, Large AMOLED Screen, S Pen Included,…
      Price: $599.99 (reg. $900)
      You Save: $300.00 (33%)
      Buy Now
      I’m an iPad user, and I have been ever since Apple released the first-generation model back in 2010. If you’re in the market for a new iPad, you’ll find plenty of discounts in our guide on the best Apple deals. That being said, I use the term “iPad user” lightly since I have never really found that tablets fit into my workflow.
      If I want to look something up on the web or email my email, I use my smartphone. If I want to stream a movie or TV show, I use a television. And if I need to get some work done, I use a computer. As you can see, I pretty much have all the bases covered.
      But not everyone is like me, of course. Plenty of valid use cases exist for tablets, and millions of people buy them each year. They’re great for families to share or for streaming movies if you don’t have a TV in your bedroom. The list goes on and on.
      If I was going to buy an Android tablet, it would definitely be a Samsung Galaxy tablet. And today, Amazon is running a fantastic one-day sale on two different Samsung Galaxy tablet models.
      SAMSUNG Galaxy Tab S6 Lite 10.4" 128GB Android Tablet, S Pen Included, Slim Metal Design, AKG D…
      Price: $269.99
      You Save: $160.00 (37%)
      Buy Now First, we have the Samsung Galaxy Tab S6 Lite.
      This model is perfect for people who want premium features at a mid-range price. It aligns best with Apple’s iPad Air, and the 128GB model has a retail price of $429.99. Right now, the Samsung Galaxy Tab S6 Lite is on sale for $269.99, which is a huge 37% discount.
      Key Samsung Galaxy Tab S6 Lite features include a 10.4-inch LCD display with 2000 x 1000 resolution, a Qualcomm Snapdragon 720G processor, AKG stereo speakers for outstanding sound, an S Pen stylus, and excellent battery life.
      SAMSUNG Galaxy Tab S8+ 12.4” 128GB WiFi 6E Android Tablet, Large AMOLED Screen, S Pen Included,…
      Price: $599.99
      You Save: $300.00 (33%)
      Buy Now If you want something on the higher end of the tablet spectrum, Samsung’s Galaxy Tab S8+ tablet is $300 off today. That slashes the price from $899.99 to just $599.99.
      The Samsung Galaxy Tab S8+ is more like Apple’s iPad Pro, featuring flagship specs and a price tag to match. Highlights include a 12.4-inch sAMOLED display, Wi-Fi 6E support, an ultra-wide-angle camera, an S Pen stylus, DeX multitasking, and more.
      Don't Miss: Today’s deals: Memorial Day sales, $20 Fire Stick, Bose ANC headphones, $264 treadmill, moreThe post Samsung Galaxy tablets are up to $300 off, today only appeared first on BGR.
      View the full article
    • By STF News
      Since its launch in 2017, Samsung Art Store has been at the forefront of driving significant changes in the way we experience and appreciate art. With vast collections of artwork, The Frame and the Art Store offer different ways for consumers to enjoy diverse forms of artwork from the comfort of their homes.
       
      Street art — which often incorporates elements of its surroundings and nature — has been finding its place in digital media as display technology and picture quality have rapidly evolved in recent years. Through partnerships with artists like Logan Hicks, Samsung Art Store has been bridging the gap between public art and everyday consumers, bringing intricate details, expressions and impressions closer to users than ever.
       
      Samsung Newsroom had the privilege of connecting with Logan to discuss his creative process and inspiration and how his partnership with Samsung Art Store helped push the boundaries of his craft.
       
      Logan Hicks is a highly acclaimed artist based in New York, renowned for his intricate photorealistic urban landscapes. By using multiple layers of stencils, he seamlessly blends urban aesthetics with extreme precision and detail.  
       ▲ Logan Hicks’ artistic process (video courtesy of Logan Hicks)
       
       
      Inspiration and Influences: From Baltimore to California and Beyond
      Q: Could you tell us a bit about yourself and your career as an artist? How did you come to work with stencils?
       
      After running a successful commercial screen printing business, I decided to focus on my art and moved from Baltimore to California. I tried hand-cut stenciling and fell in love. The process is similar, but stencils are painstaking and not exact. I embraced this challenge and learned to create deep detail with multiple layers.
       
      ▲ Logan Hicks
       
       
      Q: What is your passion that inspires your art?
       
      Travel is both my inspiration and antidepressant. Seeing new countries, people, places and cultures has always helped keep my eyes open to how utterly fantastic the world is. After I travel, I am always excited to get back into the studio.
       
      I also find a lot of inspiration in New York City. The way the city changes throughout the day and year — it has a life of its own. During the pandemic, it was especially interesting to see a vibrant city empty. It was eerily beautiful.
       
       
      Q: Could you walk us through your artistic process from the photographs you start with to the final product?
       
      I don’t usually go into detail about my process just because it’s easy to confuse the process for the product. About 75% of my time making art is the laborious process of image preparation, stencil cutting, bridging the stencils, etc. To explain briefly, I take photos, break them down into various levels of contrast, cut them out, spray them on top of each other and then carefully paint the lights. My stencils aren’t the kind that you can just roll over a solid coat of paint — I slowly bring out the image with small sprays of paint that I build up.
       

       
       
      Q: What is your favorite step in your artistic process?
       
      My favorite step is creating and choosing a mood for my artwork. Will my scene be exacting or painterly? Will it depict the solitude of the evening or the vibrancy of a bright day? One set of stencils can be painted in many ways, and I like figuring out which one is best.
       
       
      Q: What partnerships have you worked on over the years that stand out to you?
       
      I find that the most successful partnerships are the ones that have the least direction, at least for me. Finding a company that grants freedom to do what I want is paramount for a successful collaboration. A few that come to mind are the Bowery Wall I painted for the Goldman family in New York and a partnership with Porsche for their electric car at Scope Art Fair.


      Logan Hicks X Samsung Art Store
      Q: Why did you choose to partner with the Art Store?
       
      An artist only has two reasons to continue: to make art and to present the art to an audience. For me, Samsung Art Store was an outlet to showcase my art — it was a new approach to displaying my art, and for that reason, I found it interesting. Living spaces these days continue to get smaller and smaller, so I saw this as a way of sharing multiple artworks instead of hanging them on limited walls.
       

       
       
      Q: How does displaying your work on The Frame compare to other media you’ve worked with (e.g., canvas, brick/concrete walls, billboards)?
       
      Good art should be able to translate to various mediums: canvas, walls or digital. The Frame was an interesting platform just because you don’t have control over where it will be hung or what household will download what artwork — it was fun to find out which of my pieces had the most universal appeal. When you make work for a specific location (like with a mural), you have to consider the neighborhood, lighting, surface of the wall, etc. The success of a mural is based on your ability to adapt to the environment. With The Frame, though, it was a case of plucking those works off the wall and putting them into a digital space — the attention was 100% on the artwork that was created instead of the environment that it lives in.
       

       
       
      Q: How does your signature technique of blending colors through aerosol contribute to the visual appeal of your work when displayed digitally?
       
      I hope the audience can appreciate my work on multiple levels. For example, you only observe the subject matter at a distance before you start noticing the details as you get closer. Once you’re inches from it, the execution becomes clear — from the way the colors blend to the tiny dots of aerosol paint that make up the surface of the image.
       
      My work has nuances that are difficult to see on traditional digital displays. I’ve been happy with how the matte display of The Frame picks up details of the spray paint and the subtle color changes.  The display offers the opportunity to experience the work from various distances as if it exists on a wall or canvas.
       
       
      Q: You already have experience in creating large-scale murals worldwide in places like Istanbul, Miami, Baltimore, New York, Tunisia, Paris, etc. How does the Art Store partnership expand the global reach and accessibility of your work to audiences beyond that?
       
      I easily forget that 99.9% of the world won’t have the opportunity to see my work in person. When I paint a mural, it’s usually in larger metropolitan areas and in cities where I already have some sort of connection. So, I like to extend my reach to people who may not live in the places I paint. With this approach, someone in the rural outback of Australia has access to my pieces just as someone in the heart of Manhattan does.
       
       
      Q: What are your top three picks you would recommend to consumers to display on The Frame? Please give us a very brief explanation of each.
       
      ▲ The Entrance, 2019
       
      This painting is the front of Monet’s house. I visited Monet’s Garden for the first time and instantly felt like I was in a different land — flowers surrounded me like a green fog, and the smell of flowers filled the air. Standing in front of Monet’s house, I imagined what it would have been like to live there. I think about how this was what Monet saw every morning as he walked the garden and returned to his house.
       
      ▲ Giverny, 2019
       
      This piece is also from Monet’s Garden. What I loved the most about the garden is that it’s very rare that you can stand in the same place where a masterpiece was created. I’ve grown up seeing Monet’s paintings in my art history books, on TV and in movies. But when I visited the garden, I realized that I was in the painting. I was standing where Monet once stood as he painted, and suddenly his artwork made more sense to me. Of course, he painted his garden! How can you visit heaven and not memorialize it in a painting?
       
      ▲ Axon, 2018
       
      I have a soft spot for Paris: the culture, food, art and architecture. I love it all. This painting is a scene that you see when you walk outside the Gare De Lyon train station. I can remember when I took the photo that I used as inspiration for this piece. My friend asked me, “Why would you take a picture of the street? It’s ugly. It is the train station that is beautiful.” The wonderful thing about being a tourist is that everything is new and fresh.  To me, the street was just as beautiful as the train station. That is the power of a good painting — it can enchant the most boring scenes.
       
       
      The Intersection of Technology and Creativity
      Q: As an artist known for your traditional artistic techniques, how do you navigate the intersection between traditional art forms and the digital world?
       
      Art is a language, and learning to speak it in different arenas is critical to the success of an artist. I don’t put too much thought into what is traditional and what isn’t. I just try to consider what the work will look like scaled down to the size of The Frame. I try to think about what pieces have enough complexity to remain on the screen in someone’s space for an extended period.
       
       
      Q: What unique opportunities does the digital art platform offer for artists like yourself?
       
      The main opportunity I see for the digital space is access to a new audience. Someone may not spend thousands on my painting, but they may download an image of it. I’d like to think that sometimes that may even translate into someone then going out and buying a physical copy of a painting.
       
      It’s also a great way to reach an audience that does not traditionally go to galleries. Art is most successful when people can see a little bit of themselves in it, regardless of whether that is a feeling, experience, thought or mood. That isn’t limited to an art museum attendee. Finding people and connecting with them through art is something that can be done on a much larger scale through a digital platform.
       
      I love the opportunity to reach new audiences who may not have appreciated art before. The art world can sometimes be guarded; The Frame gives new fans an opportunity to consider living with art.
       
      Visit the Samsung Art Store in The Frame to explore more of Logan Hicks’s collection.
      View the full article
    • By BGR
      It’s render season, people!
      As reported by MySmartPrice, renowned leaker OnLeaks has released a number of new renders showing off what the Galaxy Watch 6 Classic will look like. According to the report and the renders, the new Classic will “feature a rotating bezel around the circular display.” It also says that the “Pro” name is going away in favor of the new “Classic” name.
      The report also speculates that the Galaxy Watch 6 Classic will feature multiple strap options, a likely feature that is popular with most smartwatches these days.
      The Galaxy Watch 6 Classic is expected to debut at Samsung’s Galaxy Unpacked event this summer. It’s still unclear when the event will kick off, but the last event in 2022 happened at the beginning of August, so it’s likely that this year will be close to the same.
      I’m personally still good with my Apple Watch Ultra, but that’s also because the Classic is definitely not being sold as an adventure device. It looks like a pretty sick watch, though, so I’m sure people in the Samsung ecosystem will be really happy with the level of style the company could bring to it.
      Don't Miss: Uber will now let you book a Waymo self-driving car through its appThe post Samsung Galaxy Watch 6 Classic leaks, but I’m still good with my Apple Watch Ultra appeared first on BGR.
      View the full article





×
×
  • Create New...