Free Pour Latte Art: Training Kata / Sequence

I've heard earfuls of stuff on what to do, and what not to do. The main thing that comes back to me, is that one has to have a concrete target for drawing. Some people like symmetrical high-contrast art that photographs well, but those look like kindergarten drawings to me. I prefer slightly more complicated, asymmetrical works on marbled canvases.

After deciding on a target image, there is some dependency among the techniques required for implementing them, so this is a quick recommendation of the sequence of techniques to learn. Over to you for practice:
  1. apple / ass: straight drop; zero forward-backward movement; zero left-right movement; study height control,
  2. heart: (apple / ass) + single forward-stroke (skewer); then multiple hearts (try shared, and separate skewering).
  3. mushroom / monk's head: (apple / ass) with left-right movement; train for fine etched lines, thick discrete lines, degrees of curvature, etc.
  4. tulip / pac-man: multiple (mushroom / monk's head)s + forward-strokes pushing new (mushroom / monk's head)s into previous ones, finishing with a skewer, as with the (heart).
  5. squiggle: straight drop + (single backward-stroke during left-right movements); try with and without a (mushroom / monk's head) at the beginning.
  6. rosetta / fern: (squiggle) + skewer, as with the (heart).
  7. wing / side-view of fern: (squiggle) + single stroke, to connect all the edges on one side of the (squiggle)
  8. swan / birds: (wing)s + articulated drawing for body/neck + (heart) for the head
  9. bear / pig: a big (mushroom / monk's head) for the head, with a small (apple / ass) for the nose - these can usually be executed at once, but separately if necessary; more (apple / ass)s for the ears; etch in brown dots for eyes; etching in a single brown dot for the nose, and a line for the philtrum renders the bear; the big is moreoften associated with two brown dots for nostrils, and no philtrum.

Further techniques (unsorted for now):
  • rotated squiggle
  • canvas preparation: unstiffening crema; normalising canvas colour
  • anticipation of canvas set-point / solidification

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