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1. What were the composition and challenges of the three Latte Art patterns in this Hong Kong competition?

The most skillful part of the Macchiato is the mixing, because it differs from the usual free pour or design art. It uses a 2.5oz cup, so if the espresso portion runs large, the space left for patterning shrinks. For the macchiato I therefore used less than a single shot's worth to create the pattern. This is an inverted pattern, so I start with the swan, because the swan's position determines the slow-pour position when working backwards. As I mentioned earlier, the spot where you first introduce the milk foam in a free pour matters enormously: if the swan sits too far forward, the space for creating waves with the slow backward pour becomes too narrow. That is the difficulty of free pour.

As for the design art, I see it as a balanced pattern between technical skill and etching: too much free pour eats up the clock, too much etching lowers the difficulty score. So in this creation I aimed for balance, adding etching to bridge between the pouring techniques. The design art first creates the dorsal fin, then uses a slow pour to form the mouth and tail fin, then moves into etching. I used color in the pattern because in the World Latte Art Championship, color is increasingly popular in design art — to connect with world competitions you need to incorporate it, hoping to strengthen the contrast.

2. Is there a story framework behind these three patterns?

I didn't use a story framework. My approach is mostly to design the free pour first, then the design art. But there were times when, after designing the free pour and moving to the design art, I realized the free pour wasn't good enough — so back to the free pour, then the design art didn't work, and I started over... alternating back and forth like that.

After settling those two patterns for the preliminary round, I had to think about the macchiato for the finals. At first I considered making it more complex, but then realized that simpler is better.

In the end I chose a relatively simple but steadier pattern — the swan.

3. In the pre-competition conception, did you think about which cup, which type of pattern, or which key points to use to score?

My focus is stability. This year's patterns scored slightly lower on difficulty than last year's, in exchange for steadier execution — because this competition isn't done cup by cup, but with two cups made simultaneously.

An overly elaborate pattern you can't deliver well in the end is just a pattern — it won't help you. So everything I chose this time put stability first.

4. How long did it take to finally decide on these three competition patterns?

The pattern conception began in June, and after some trial and error the free-pour patterns were settled by July and August.

But everything was truly stable only a few weeks before the preliminary round — then I started practicing madly, from 9 AM to 11 PM daily.

At peak milk usage I went through one case per day. Same as last year's training — building muscle memory to make the patterning stable.

5. Did anyone help you with these three patterns during conception?

My coach, Chris. Like submitting homework, I photographed each finished pattern and sent it to him.

He would judge whether a pattern could be completed easily when making two cups at once.

Because the preliminary and final rounds give only 8 and 10 minutes respectively, we had to confirm the whole workflow left enough time to finish the patterns — it really is like doing calculations.

11. After two years at HKLAC, what have you gained from competing?

Personal patience, and that stubbornness.

When you've practiced to a certain point and the patterns still aren't mastered, your hand muscles start to fatigue, and the more you practice the less accurate you become. It's genuinely frustrating — and you're not the only one practicing.

The same goes for rehearsing the workflow and predicting prep time: colleagues and coaches watch alongside you, and you can only perform at this level.

That makes it even more frustrating, with plenty of pressure. But I'm okay — even when pressure hits, I wake up the next day and start over.

12. After reaching the finals, did you feel who the strongest competitor was? What adjustments did you make?

Of course there are competitors, but no matter how strong the opponent is, you can never defeat yourself.

You are always your own biggest enemy. If you can't overcome your inner demons and can't perform on stage at your usual practice level, you're actually disrespecting your opponent.

With such a great venue and such a good chance to compete against high-level rivals, failing to deliver your level — you might even get angry at yourself.

13. Are you starting to prepare for the World Championship?

I need to start pattern conception from scratch, because the Hong Kong competition doesn't have the art bar used at the World Championship.

We'll prepare the art bar for the preliminary round first, then see whether my existing 3 patterns need major improvements — or even replacing.

Time is limited, so I've already started. I'll basically keep the current macchiato pattern, but the free pour and design art still need thought.

14. Who do you want to thank?

First, my boss — his full support, covering so much milk and beans, and last year's special training in Taiwan was arranged by him too.

Speaking of latte art, I want to thank a wonderfully talented latte art teacher from Taiwan, Teacher Peng Siqi. I was fortunate that from the very first day I learned latte art he was my instructor, and at every competition he was there teaching me.

This year I didn't seek him out for special training, but what I learned from him last year, I could finally demonstrate in full.

How to foam milk, how to pour tulips, how to split milk for two-cup patterns, how to keep the milk foam smooth — all of it came from him.

The third is Chris, my long-time coach for technique and rules — how the workflow should proceed, which parts earn the points — he helped me adjust all of that.

And finally, all my colleagues at the company, who acted as my judges during practice, helping me catch bad habits and outright mistakes.

15. What advice do you have for latte art beginners?

Don't assume latte art is simply "pour milk and it's done." I've met friends who arrived full of joy, convinced they could pour a pattern within an hour or two. Only in class did they realize latte art involves many things: first the milk foam must be right, then the mixing, then the angle of the pour — every aspect is connected. If you don't mind starting from the basics, latte art is a genuinely challenging pursuit.

Recommended Latte Art Coffee Bean Brands

FrontStreet Coffee's roasted latte art beans — FrontStreet Coffee's Commercial Blend espresso coffee beans — carry full guarantees in both brand and quality, and outstanding value: a half-pound (454 grams) pack costs only about 60 yuan. At 10 grams of grounds per espresso, one pack brews 45 cups, so each cup costs only about 1.5 yuan — extremely cost-effective compared with cafes charging 20-30 yuan a cup.

FrontStreet Coffee Recommendation

For practicing latte art at home, FrontStreet Coffee's Classic Blend is the essential starter bean: a medium-dark espresso recipe combining three origins, inspired by the old-school "Mamba" (Mandheling and Brazil) formula, with a small share of Robusta for extra aroma and crema. Extraction is highly stable, with clear notes of butter, toasted toast, and caramel biscuit — strong flavor, solid body, and fine, dense crema. If you love nutty intensity, FrontStreet Coffee's Premium Blend — a classic pairing of washed Colombian and pulped-natural Brazilian beans — offers nuts, dark chocolate, and caramel in espresso, with cream, almond, and cocoa aromas in milk drinks; its crema matches cafe output, more than enough for practicing patterns. And for anyone about to open a shop, FrontStreet Coffee's Commercial Blend builds on the Premium recipe with a touch more Robusta, adding deeper brown crema and a heavier body, with nut, cocoa, and caramel notes across Americanos, lattes, and mochas — making latte art effortless.