Photoshop Workflows - Movie Poster

1. Introduction Movie poster: Welcome to the most hands on photoshop course you've ever seen. This isn't your typical feature tour. We are diving straight into exciting creative projects, and you are encouraged to create completely unique designs. You will love this project if you are a fan of movies. And honestly, who doesn't like looking at movie posters? This particular project, I decided to do a dark fantasy movie. It's completely fictional. I came up with the title. I came up with the general characters as well. But like always, what's most important is the work for itself and the techniques that we cover because these can be applied to any type of style and theme that you wish to create. Whether you are an aspiring graphic designer, photographer, marketer, or simply an individual with a passion for visual storytelling, mastering photoshop provides you with the tools to bring your visions to life. This course is perfect for you if you are new to photoshop or if you are self told and in to get more confident and effective using it. I am Martin Pahina, a certified ado expert and instructor with a design background spanning over two decades. Throughout my career, I collaborated with renowned clients such as Disney, Mattel, Cartoon Network, Nickelodeon, and BBC. Learn to use photoshops latest features together with the fundamental building blocks, like layers, adjustments, selections, transformations, masking, smart objects brushes, and so much more. You can also future proof your skills by mastering Photoshop's amazing generative AI features. I am not just teaching photoshop. I am empowering you to express yourself, tell your story, and create designs that resonate with your unique style. This is your chance to create work that is truly personal and worthy of your professional creative portfolio. You can follow along with each project and replicate my designs, or you can use the workflows and techniques I show you and create something completely different and unique. So are you ready to revolutionize the way you learn photoshop? Your creative adventure with Photoshop starts right here. Oh. 2. Setting up the document: Project, I would recommend to work with a standard movie poster size, which would be 27 by 40 ". This is going to be a portray movie poster and 300 PPI or pixel pringe resolution. Now this is going to guarantee that this will be a very high resolution image. When it's printed out, it's going to work nicely for that standard size. It's like an industry standard resolution. But if your computer is struggling to handle this, you can always reduce this down to maybe 72 or 150. But just to show you if I switch to pixels, currently, it's a very high number of pixels, 8,000 by 12,000 pixels. But if we switch back to inches and reduce this down to, let's just say 72 PPI. Now if I check the pixel size, you can see it's radically reduced. It's still enough to work with for this tutorial, but it's going to be easier for the computer to handle this type of file. Worth mentioning that if you are changing the resolution while you have the pixels selected, it's not going to affect the document size. So it's just simply setting the resolution to a higher number, but it's not going to change the pixels. So in case you want to go back to the higher pixel amount, make sure to first switch 2 ", then type in 300. And now when we go back to pixels, you can see it's set to the higher resolution numbers again. If you're not familiar with how pixels and resolution work, make sure to watch the video in the introduction chapter, but I explain this in a little bit more detail. But now that we have everything set up, we can create this new document, and I am going to bring in all the images that I would like to work with. 3. Placing assets in composition: I've selected only seven of the images, which we prepared for this tutorial for you. So I have six actors and one image for the backdrop, which is this mountain. So I'm going to bring these into Photoshop. And the easiest way to do that is to simply drag them all into that empty new document. So I'm going to grab them from my finder and then drop them here in the background. Now, you can, of course, use windows Explorer if you are on a PC. And when you do this, all the selected images will be placed in one by one. You just have to press enter each time when one appears, press enter, then press enter again. And the good thing about this method is that this way, each of these images will be automatically placed in as smart objects. And I think this is the last one. You can see here in the layer thumbnails, all of them has that little icon, which means that they are smart objects, which makes it easier to work with them non destructively. Now, let me move this mountain a little bit lower using the move tool. It should be here at the bottom of the composition. And then I'm going to select all the actors and drag them to the top and also move them a little bit higher. Now, we will have to make them smaller as well. So having all of them selected, I'm using the commando Control T shortcut for using the free transform. And then dragging one of the corner points. I can make them a little bit smaller, something around that size. I am planning to create a triangular composition here. I'm going to use this character as the main holding device, and then all the other actors will be around this central figure. As you can see in the background, this mountain is also like a triangle or pyramid. That's going to work well and it will make it easier to align things to each other. Now, I am going to start separating these images from their white background. I will turn off all of them. And let's start with this character here. I have the layer selected. And then from the contextual task bar, I always try to start with the select subject option. So that usually does a good job, and in this case, I feel like it did a good job already. We can just turn this into a mask with this icon. Okay, now, there are some small details that I can see are not completely sked out, like these bits here. But I'm going to come back to that later. For now, I am happy with this selection. I always like to refine my selections once I have the composition in place. So let's just turn off this layer, turn on the next layer. I like to keep these images on top of the background instead of having them on the whit background just so I can see how the selections and masks turn out. So again, select subject. Let's see what happens. We should get a fairly good result. Yeah. I feel like it's good apart from maybe this part here, but let's turn this into a mask, and then we can zoom a little bit closer. If you notice any details like this, you can easily fix them by having the mask selected. And using the brush tool, just set your brush opacity up to 100%, make sure that the white color is set as your foreground color. And then you can adjust the size and hardness of your brush either from the menus up here, size and hardness, or you can access these from the keyboard shortcuts. Control Option, click and drag left and right on the Mc, or control old right click and drag on a PC. So once you have your brush set up, you can just paint over these details. In this case, these were very bright highlights. That's why it folded the selection method. But now it looks good. Of course, again, we have some minor details that we could refine if I use black as my color on the brush. I could mass these details out and refine it. But once again, I'm not going to spend time on these small details at this stage. I'm happy with the selection on the hair. I feel like that looks quite good and realistic. And yeah, I think we can move on to the next layer. So let's turn this one off. Turn on the next one. Once again, select subject. I feel like it's going to be able to pick up most of the details yet. It did a fairly good job. Will just have to fix this part here. But we can turn this into a mask. Okay. Let's just have a look. Here again, I'm using the brush tool around the hair. We just have to use Vite. On the mask of this layer to fix those parts. And let's just move it up a bit. Yeah, I feel like the rest of the hair is fine. We just have to fix this bit here. For this, I am going to double click on the layer mask. So this thumbnail here. Let's just double click on it. That takes us into the select and mask workspace. And here, all you have to do is to select the second tool, which is to refine the mask. And with that, just paint over this area. And as long as you don't go too close to the fur code that he's wearing, it should be able to create a good selection there, something like this. Then we can switch back to the first tool with which we can remove some parts of this selection, holding down the older option key. We can just paint over some of these particles here, which we don't actually need in the final image. Something like that. I feel like that works well. Now, if we want to refine the hair maybe on the beard, we can use, again, the second tool, the refine edge tool. And with that, just paint around the edges of the beard. I feel like that improved it a bit, and maybe around the moustache as well. I think that is going to work nicely now. So let's click, Okay, this should update the layer mask. And I feel like that looks really good. So we can move on to the next image. Here, we have to again, try to use the select subject first. Let's see how that works. Again, did a fairly good job apart from these parts here. Another way to quickly fix this would be to switch to the object selection tool from the toolbar. Hold down the shift key and click on the veil that should fix the edge there on that side. And yeah, we can see that it fixed the selection. So now we can just turn this into a mask like before. I am happy with that. Maybe this little detail here needs to be removed. And here I'm going to use another method which can be very useful. So this is something that I would normally use when there are these hard edges like skin or clothes, anything that is not hair. So here, especially, we will need these curves. So the best tool for this is the pen tool. Make sure you set it to path mode, and then you can start drawing with it. Here at the bottom, we just create a straight line. So I place down two anchor points. So click once and then click again. And then I'm going to click and drag to create a curve. Now, while you are still dragging this, if you hold down the space bar, you can even reposition the point that you created and try to fit this curve along that shape that we need. So something like that. You can go over it a bit, and you can use the commando control key to drag existing points around as well if you need to. Then you can continue drawing. Again, I'm going to click and drag to create this curve, click and drag to create the next one. And here because I will have to change direction. I'm going to hold down the Alter option key to click on that last anchor point. That way, I can click and drag and create the next curve, completely independent to how the previous curve was. So it changed direction like that. And then here once again, I pressed alter option key and clicked on that last point and then just create another curve. And now we just have to close it. And then to turn this path into a selection. I'm going to use a shortcut. It's command or Control enter. And once you have your selection, you can fill this in with black, which is going to hide these details. Remember in the mask, anything that's black is going to get hidden. So I can just press command or control back space because I had the black as my background color. Or if it was set to the foreground, the same feature can be accessed with old or option back space. So that's for filling in with the foreground or the background colors. But if you want, you can also use the brush tool, make sure you have the black color selected and just paint over the area that you selected. So you can see when you have a selection, anything that you do will be restricted to that area. And once you are done with your selection, you can press command or Control D, and we can zoom back a bit, and we can see it's a beautiful selection there. So now this layer is ready as well, so we can move on to the next one, and we don't have much left. So this is another character I want to use. I'm going to choose select subject again. Let's just see how that turns out. I feel like it's quite good. And I'm not really concerned about these details missing here at the bottom because they won't be necessary for decomposition anyway. So I'm going to turn this into a mask, and I can see some details around the face got lost, so I'm going to use the brush tool paint over these with white. Bring them back. Again, it was the highlights on the face that fooled the subject selection. But now it works, so we can move on to the next layer. And here, once again, we will choose subject selection. And let's see how that works. I feel like it did a brilliant job, so we can already mask this out. There we go. Yeah. It looks good as a mask. And then here, I have a little bit of missing detail at the end. But once again, because once we put these layers together, this is going to be hidden v, I am not too concerned about visible edge there. We just have to keep in mind of trying to hide it or blend it in once we have all the characters put together. So now I am going to line them up here on top of each other, and I'm going to make them smaller again, just so we can see them all using the free transform tool, I'm going to also make this one smaller. Each time I'm switching between the layers, I'm using the commando control key to quickly be able to move them around. So that's all the images ready to get started. 4. Compositing assets: So it's time to create the composition, for which I would like to use this character here on the top. And I would like this to be the biggest one. This is the main villain of our story. So she is going to be somewhere here on the top, and I'm going to make sure she is blending into the background, but we can do that later. For now, what we need to concentrate on is to make sure that we have a good read of all the characters, and they don't feel like they're floating in space. That's the worst thing that can happen with a movie poster. So you want to keep them nicely fit together and make sure that you get a good read of all the characters. But also, it's important to play with the scale of them, especially the main actor, which is the main hero of the story, should be the largest one. So I'm going to make him quite big. I decided to have him as my main actor. So I will have him there. And then let's select this other layer here. I'm going to make him smaller. Something like that. It's a very good pose, and especially it highlights the swords and daggers, which helps sell this as a fantasy or medieval story. I'm going to move this layer on top of all the other ones, so we can have him somewhere around here, maybe. That's a good alignment I feel like. He pose nicely follows on the cape that this character is wearing, but still we have a good visibility on the weapons. So I'm quite happy with that placement there. Our main protagonist is also quite good here on the right. Now, let's move the other characters in place. I would like this supporting character to be on the right side here. So I'm going to use the edit transform flip horizontal feature. We can turn him to the other side and using the free transform tool again, I'm going to make him smaller, something like that. Let's align them to each other. I feel like something like that works. Then I would like to have this character on top of the layers as well. So I will put him somewhere around here, actually put him all the way on the top and make him smaller. Again, we don't want to compete with the hero. So I will have him somewhere around There. Actually, the main actor can be on top of everyone. So he really stands out. And last but not least, we want this red lady, the centres. Again, we will need to flip her around so she looks to the left side. So let's go to the transform flip horizontal option. And then let's bring her a little bit higher in the layer structure. Maybe even in front of these two characters. I think that's good. We can make her smaller, something like that, and we can move her a little bit closer this way. Okay. I feel like that is a good composition, so everyone is featured quite well. Maybe we can move everyone a little bit to the left. Like that. And now I'm going to select all of these layers together and put them into a group. So selecting the layer at the bottom, shift clicking on the layer on the top. I'm going to press commando Control G, so that creates a group, and I'm going to call it actors, and then let's move this whole set or group a little bit down. We want to align it to that mountain. So the shape of the mountain should continue here. I will just make them all smaller a bit. Again, using the free transform tool, something like that. I feel like that works quite well. Okay. So yeah, I think this looks good. Now, before we move any further, I am going to extend the backdrop of this image. And for this, I'm going to use the generative feel feature. So I have only the mountain layer visible. I temporarily turned off all the actors. And I'm going to use the rectangular market tool and make a selection up here. I overlap a bit the original image or the existing image at the bottom. And then from the contextual task bar, I'm going to choose generative feel. And type in something like dramatic, dark clouds. I think that's going to work. So here we have the three variations. That's the first one. That's the second one and that's the third one. I actually like the second one the most. The third one was a little bit too dark. I feel like this is looking quite nice. Let's just zoom out a bit. Yeah, I think we can work with this. But if you are not happy with the results, you can always create some more, so just press generate and then it's going to give you some more options. So let's just see one more set, and what we get. Okay? So again, we got some more options to choose from. I still feel like this was the best one. It creates a nice frame or vignette for the composition. So we have dark corners, which is always a good thing. It helps to focus the attention to the center of the image. Now we can put the actors back. 5. Adjustments and masking: And the next thing we will have to do is to match the colors of them to the background. Because at the moment they are not in sync, they look completely different in both hues, tones, and values. So we have to fix all that. And one of the fastest way to do this would be to turn this group that we created into a smart object. Now, they are already smart objects individually, but we can turn them again into a combined smart object. So when we do this, we will be able to use smart filters on all of them together. The good thing about a smart subject is that you can always go into it and make adjustments. So if you change your mind and you want to move some of the characters around. All you have to do is to double click on the thumbnail of this layer, and that opens up the group itself, where you can still find all these layers, and you can move them around. So maybe if we want to move him a little bit to the right, we can do that, or maybe if we want to move this guy a bit further in, we can do it, and then just go to the file menu and save these changes. And that way, it's going to show up in the actual composition. So now we moved that character in and turn this whole thing into a smart object. It's time to use one of the adjustments. This, you can either use from the image menu and find the color balance here, or you can create this as an adjustment layer. But this time, since we already have a smart object, I find this one easier to use. This is going to end up as a smart filter. And this is a really useful way of matching colors. And since I can see that there's quite a lot of science and blues in the background, I just want to increase the intensity of those. Maybe also add a little bit of green. So we want to have all the tones cooler, something like that. And notice that you can also adjust the values of the shadows and the highlights. So you can do this not only for the mid tones, but for the shadows as well. Again, I'm trying to be careful of how much each of these values I'm using. So something like that. And for the highlights as well, maybe a little bit more towards the sen, more towards the blue as well. And we can see before and after. I feel like that's already quite good. Probably we can accept these changes. And next, I'm going to use probably the most advanced filter that you can apply to images. And that's the camer filter. Once again, this will be addit non destructively. So we will be able to go back and make changes easily. The only disadvantage that whenever you use this, you won't see the background. So I like to keep the original image here on the side, and then I like to zoom in closer to the image so we can see what we are doing. Just keeping an eye on the background. It will help me to align it to that, the colors. So what I want to do here is to go to the color first and reduce the vibrance. So this way we can just desaturate the image a bit because it was very vibrant before. I feel like now it's already much better. It's that dark gritty look that we are after. And we could even adjust the temperature slightly, again, that helps to make it cool down all the colors. I feel like that's much better already. And in the light section, we can probably play a little bit with these values. I can reduce the whites ever so slightly. We can increase the intensity of the blacks by dragging them to the left, that adds more contrast in the image. And I feel like overall, this is a good result. Maybe we can just drag the shadows ever so slightly to the right. So we can see the changes here. They are very subtle. If I press and hold on this icon, you can see before and after before and after. Very subtle again with the color, it's a little bit more obvious if I press and hold on the i that was before, and this is after. So now that we are ready, we can hit k at the bottom, and then we should be able to see this updating in the main composition as well. Now if we want to see without the adjustments, we can turn off this i icon and then turn it back on, or we can also individually turn on and off the adjustments that we added. So the color balance, which we use first. Let's bring that back, and then camera rule filter again without and wd. So, I am quite happy with how this turned out. I feel like the colors match much better the composition that we have here. Now we just have to blend them together because currently we have a very sharp edge here at the bottom. For this, I'm going to add the layer mask with this icon here in the layer spanel, and switch to the brush tool. And I'm going to use a soft edge brush and start painting at the bottom here with black as my foreground color. Remember, you can press X on the keyboard to switch your foreground and background colors. So using black, I can paint over these details. And I'm trying to create a fairly uneven edge, so revealing more of the mountain as I go along. And here, I'm trying to create an interesting bland between the background and the foreground. I feel like his armor plate should still be visible. But around here where the arm is, we can hide a little bit more. Really making it look like they just appear out of this mountain. So there's like a nice transition between them. You can feature the rock a bit more here. I feel like that is a quite nice way of making it look like. There is more integration between the two images. So he almost appears behind that rock. I'm just switching back and forth between black and white and drawing with black and drawing with white until I'm happy with the transition, something like that. That's quite good. And then here we can hide a little bit more details of this lady. And I feel like that is already looking good. Maybe we can hide some more details here as well. Yes. Something like that. Let's see without the mask and with the mask. Now, always, if you want to bring back some more details, you can just switch to hit by pressing x, and then you can have maybe the arm visible a bit more. If you wanted to do that, I'm not 100% sure whether that's necessary or not. I guess it's good to see a little bit more of that, so we can hide back at. Again, just ever so slightly, we want to hint at that there is an arm there and not just the armor. So once again, without the mask and with the mask. And once again, if you want to hide the mask temporarily, just to see how it was before, press and hold shift and click on the mask icon. So that way you can quickly test before and after, and we can even zoom out and check it like that. As a overall composition, I think that works really well. I still feel like we need to increase the contrast of this composition a bit. So I'm going to use another adjustment for this. I go to image adjustments and choose levels. Just make sure before you do this, that it's not the mask that's selected, but the image thumbnail. So you want to apply the adjustment there. So let's just go to levels, and then here, all you have to do is to drag the black point up to increase the contrast, and the white point down, you can also do. So let's just drag this a little bit even higher, something like that. So let's see before, and after. So we really increased the contrast. And now it's time to go back to the mask of this layer and make this villain disappear into the background. So for this, I'm going to use the black color again. And this time I'm going to reduce the opacity of my brush to something around 25 30%, make the brush quite big and start painting over the character. So I want her to vanish into the background, but still be visible at the same time. Now, I don't want that mountain to start showing up here, so I will have to make sure that is hidden away. And focus on these parts here on the top. So I don't want also this character to disappear. So I'm going again back and forth between painting with black and white. With black, I'm hiding details. And then when I switch back to white, I can show them or reveal them again. So I'm going to create something like this. I actually want the eyes to be most prominent, so I will reveal those a little bit more, maybe with 10% opacity, just adding a little bit more emphasis on the eyes, and the rest of the face can be more hidden away. Yeah, something like that. Cape can be hidden as well here on the right side, a little bit more. We don't need to feature that as much. And then the top of the cape can disappear a bit more as well. Okay? I feel like that is a quite good effect again, without the mask. And with the mask, now we have both the top and the bottom quite nicely blended into the composition. 6. Adding text elements: Now it's time to add all the text. So the movie title, the actors names, and the credits at the bottom. Let's start with the movie title. I decided that the title is going to be descent of Doom. I'm just going to use the Type tool and click somewhere here in the center and start typing it in. Descent of Dom. Now, for the font choice, it's completely up to you what you want to work with, but I feel like Gander Nu is a great black letter font that also feels still modern or current, and I can make this a bit bigger. Probably try to fill in the area from the left to right where we have this transition between the people and the background. And I actually like to have the word of a bit smaller. So what we can do is to put that on a separate layer. It's always easier to do it that way. So I will delete that, maybe keep a little bit more space between the two words, something like that. Let's increase the size a little bit even more. We can use free transform on the text. I always find that the easiest way to do this. Yeah, I feel like that looks really good. And then I am going to use again, the type tool, click somewhere in an empty area and type in off. And we can put this here in the middle. Now, we can make this slightly bigger. Just want to make sure it's not as prominent as the rest of the text. Using the arrow keys on the keyboard to adjust the positioning of it, and then let's zoom out a bit. Now, I feel like that looks great. We could always make the text all capitals if we wanted to. But I quite like the way this looks, so it has a bit of more variety with only the first letters set to capitals. And then after this, it's completely up to you whether you want to add more text or not. But in case you want to make it look like a real movie poster. You probably would want to add some names on the top, so I'm just going to copy that last layer, and I'm going to start typing in names. I will use some fictional names. And we want this to be smaller up here on the top. And maybe we could actually sample a color from the sky, be something like this and apply that color on the text. I don't want these names to be as prominent as the title. So it's still a bright text, but it's using a color from here. So what I'm doing here is using the brush tool. I old or option click on the color of the sky. And then having that text layer selected, I press old or option backspace to quickly fill it in. If I want to make it brighter, I can do that, and that's probably going to work quite well. So now, if we wanted to, we could just continue typing into the same layer. But what I normally find is that it's easier to create a duplicate layer using the move tool, old or Option click and drag to make sure that it's also not moving up and down, just to the right. I can hold down the shift key as well, so that just restricts the movement. And then once it's in place, we can use the type tool, double click, and then change the name. I will have another fictional name here. Let's just add one more. Then using the commando control, click and drag. We can move these layers around until we are happy with them. I feel like this needs to come a little bit to the left, that can go to the left as well. In general, I think the names can be slightly smaller. Let's select all four layers, and then drag them down a bit. Holding down the alter option key while dragging a corner point, you can resize things towards the center point. Let's take a look from a distance. Yeah, I feel like that works quite nicely. And last but not least, a movie poster won't look authentic without the credits at the bottom. And I intentionally kept enough space here where we could put the credits. Now, for this, on the mill Node board, you can find the credits template file. It's a photoshop file, and there's also a font that you can download and install if you want to use this. You can also find this credits photoshop file in the exercise files folder. So when you open that, just make sure you first install the font for it. Otherwise, it's going to give you a warning here that it won't be able to adjust or edit the text. Once you install the steel tongs font on your computer, you will be able to double click on the thumbnail of this text layer, and you can change things like the alignment. I normally like to have the text aligned to the center. So that's something you can do from the Options bar. That's again, left aligned, center aligned, and then you can start changing the text here easily. But you have to make sure whenever you type in this font is that you are using CPS. While typing or hold down the Shift key. Because if you are using lower case characters, they are actually going to add these special details. So for instance, if I press A, that will add written by S is going to do special effects by. D is costume designer, and so on and so forth. So it's a special phone specifically for movie credits. I'm just going to press capslog and type in descent of Dom and then accept these changes and then copy this layer by pressing command or Control C. Back to the other document and command or Control V to paste it in. We can increase the size of this to something around this. We can place it down here, and by default, the opacity is set to 65%. We can increase this if it's a little bit hard to read. We can even set it all the way up to 100%. I feel like that's going to be easier to read because of the effects that we have here at the bottom, something like that. Let's zoom out, see together, and we can maybe move this a little bit to the right. I feel like that is centered now. But in case you want to make sure that it's perfectly centered, you can just have this layer selected and the background layer, the original background layer. So hold on commando Control click to select these two. And then from the Options bar, this icon is going to help you to center it exactly in the middle. So this way, you can be certain that it's set to the center. And of course, you could do this with the movie title and the actors names as well. But for now, I am just going to do that manually. Feel like these names can be a little bit smaller. We could spread them out a bit more if we wanted to just using the move tool. And I feel like that just balances things out a little bit better in the overall composition. Now, one last thing that we could try is to snack the actors layer and make it a little bit larger, just to fill in that space on the top, we're so slightly bigger and also a bit higher in the composition. So this was before this is after feel like that fills in a bit more of this negative space on the top. We could just adjust the edges here, just use the mask again, and hide a bit more of these details until it disappears and blends into the environment there and probably do a little bit here on the right as well. So overall, I feel like that helps the balance, and maybe we can make the title also slightly bigger just to fill in that space better, maybe move it slightly higher. Actually, I just realized that we have a typo. I meant to write for the title, descent, not decent. So let's just make that a little bit smaller like that. We can move it up a bit and we can move this text here in the middle. That still looks good. It still works. Luckily, this font is quite narrow, the characters in it, so we can fit more characters in without making it too small. And since we are looking at the text layers, it's good to put them all in a group just to make sure we can find them easier later on. So I'm going to call it type, and we can turn those on and off much faster. And it's always worth double checking your layers and make sure that everything is named. To make it easier in case you have to come back later and make changes. I can see we have this layer that's not named, which we used here in the middle. I'm just going to check that lights on the cave. I feel like now the layers all make sense and everything is nicely structured. Keeping all your layers named and organized into groups is always going to make it easier to work with the file, whether it will be you who's going to make changes to them or someone else. Forget that in some cases, you will have to provide the actual working file, the PSD document to your client. And of course, they would expect to see something that is neatly organized and structured. But I think I'm going to stop now because I could still spend hours refining details, but I'm going to let you do that. So I hope you will have fun with this project, and don't forget to create your own compositions after you practiced repeating everything that I've done here, because it's always more fun and exciting to create your own compositions and come up with something completely unique. 7. Conclusion: Well done for finishing this course. I hope you had just as much fun going through it as I had recording it. And of course, don't forget about the class project. Because remember, practice makes perfect. I can't wait to see your work, so make sure to submit it. And in case you like this course, and you would like to learn more from me, then there's plenty of other courses that you can find here. Go ahead check them out now. I can't wait to meet you in the next one.