THE INTERNATIONAL SCHOOL OF

Book Two. ADVANCED

Principal teacher: NICHOLAS LODGE
Teachers: ANN BABER, LINDSAY JOHN BRADSHA\v,
ANNE SMITH, CYNTHIA VENN
C O N 1 ~ E N T S
LESSON 1 PAGE II
DECORATING
WITH
CHOCOLATE
Simple Cho colate D'cco rat io n s
Coloured Chocolate
Co l o u r Combinations
Gateall w i th Chocol at e Di.dU
ROJ'c Gateau Coffee Gat eau
Strawberry Ch ocolat a Gateau
LESSON 2 PAGE 23
CHOCOLATE
EGGS
& FIGURES
Chocolat e E a.,t er Eggs
Moulded Eaner Egg.,
Decorating Egg.,
Chocolate Mo u Ided Figures
LESSON 3 PAGE 33
MARZIPAN
FIGURE
MODELLING
""1 an: i pa 1/ Figure.,
Preh ist o ric Range
wu A n i mals
Woodlllnd S c en c
Human Figu res
LESSON 4 PAGE 45
PASTILLAGE
& SUGAR
MINIATURES
Fi gure Modelling. Past i tlagc
Cards Bramble Mic e
Bu by Wrapped in Quilt
Koala in Tree S/(iink
Teddy Birthday Plaque
Clown jack -in-the-Box
LESSON 5 PAGE pI
TUBE
EMBROIDERY &
BRODERIE
ANGLAISE
Iced Embroidery
Tube Em broider)'
Broderi e Anglaisf
La zy DaiJ")' Cak e
LESSON 6 PAGE 75
BRUSH
EMBROIDERY
Tra nsfer of Desigll
Working Brush Embroidery
M'ag n al ia Cake
LESS
st.
HIlle ~
LESS
EX
Vari at i o,
LESSON 7 PAGE 83
LACE
L acing
Met h od of Work
Side Decorat io ns
Rille Cake urit h Fl o u n cc
LESSON 8 PAGE 95
EXTENSION
WORK
The Bridge
Va riations on Extensi on ~ V o r k
Bird Ca lec
LESSON 9 PAGE 105
CREATING
El\1BROIDERY &
LACE DESIGNS
Tu be Em broidery
SHull E m broide ry
Creat ing Lace Designs
N o tt i ng h am Lace Ca le
LESSON 10 PAGE 115
BAS RELIEF &
SMOCKJNG
Step-by-Step Bils Relit:!
Bas Relief Pl aq u es
Appl i qu c
Step -by-Step Applique
Smocking
Bird Cak a
LESSON 11 PAGE 131
FILIGREE
Piping Fil ig ree
Bllftercrealll Filigree
Usi JJg TonpIell cs
Coffc C at ea 1/
Strawberry Cake
Filigr{'{' with Tullc
Filigree CLI sk e!
Mo t hcr ' D ay Cake
Eng ag cm c u t Calle
Engagcmel/t Ring Cas/(C't
Fil igre Cradic
b CIi r i., t C'/I in g CaI(c
Filigree Wcd d ing Ca ec
LESSON 12 PAGE 145
ADVANCED
FIGURE PIPING
Pressure-Piped Figures
Half-Relief Birds Stork
Duck Birthday Cake
RUl10ut Figure Piping
Teddy Christening Cake
S em i-Relief Piping
Outline Figures
Wafe r Th in Piping
Full-Relief Piping
Combination Work
Teddy Birthday Cake
Flower Girl
LESSON 13 PAGE 157
ADVANCED &
FREESTANDING
RUNOUTS
Crown Ornament
Double Col l ars
Runou t Ch urch
/111 ni uersary Cak Orn amenI
Floating Collar
An n iucrsary Cake
LESSON 14 PAGE 171
INTRODUCTION
TO SUGAR
FLOWERS
Equipment Flower Pane
Hin ts l'-:;' Tips. i'vl al( i ng Sugar
Flowers Making Foliage or
l n d iuidual l y Wired Petals
Col ou rin g Fl ourc rs
Daffodil Leaf uJing
Flori.ar)' Tape Foliage
LESSON 15 PAGE 181
PULLED
FLOWERS
Pulled & Finger Flowers
Basic Blossom
JVinle,. Ja smine
Da i sy
Primrose
Violet
H cart sc ase
Fre es ia
Snowdrop
Bluebell
Baby 's B O O l i e ~ '
Posy of Pu l l ed Blossoms
Bluebell
Peach 6 Blue
Anniversary Cake
Silver Vase
Carden & Wa yside Cake
LESSON
Cl
FLI
Spra
S
Long
Cymb
Call
M in i at i
G
f
Heart-Sh e,
LESS ON 16 PAGE 195
CUTTER
FLOWERS
Rose
Spray Carn at io n
Clematis
Pet u n i a
Fuchsia
5ureet Pea
Longiflorum Lily
Cymbidium Orchid
Cattleya Orchid
Miniature Cy mbidiu m
Doris Pink
Marigold
Gypsophila
Ivy Leaf
Periwinkle
Foliage
Ferns
Heart-Shaped Wedding Cake
LESSON 17 PAGE 211
WILD FLOWERS
Honeysuckle
Foxgloves
Blackberries
Acorn
Bess Rose
Forget-me-nots
Buttercup
LESSON 18 PAGE 225
MAKING
-FLOWERS FROM
FRESH SAMPLES
Dendrobium Orchid
Alstromeria
Rubrem Lily
Scabious Wiring
Fresh FlollJer Bouquets
Silk & Fabric Flowers
Silver Vase
BriduL Bouquet
LESSON 19 PAGE 235
FLO\\TER SPRAYS
& CORSAGE"S
Sprays &' Posies
Lnuert ed V Sprays. Corsage
Spray Carnation Corsage
Blackberry Box
Gift Box Kn ife Spra y
Rose & Orchid Bridal Bouquet
Wired Sprays
LESSON 20 PAGE 249
COMPETITIONS
& COMMISSIONS
Cake Commissions
Commission Form
Compet it io a Cake
Competition Schedule
LESSON 1
Decorating
with
Chocolate
,
I
!
l
:
,
I
As a decorative media, chocolate is not
only attractive, but is a great favourite
Decoratmg
S
of young and old alike.
with Chocolate
Chocolate marries well with most
other flavours and colours, and may
be used in cornbina t ion wi th fresh
cream, buttercrearn, creme pari ssiere,
marzipan and fondanr. Decora t i ng
with chocolate can range from ve ry
simple grated shav ings to more
complicated piped trelli s shapes.
Melted chocolate can also be
beaten into buttercream and creme
pati ssiere and used as a filling tor
gateaux, or st irred into fondan t for
coa ti ng or piping.
INGREDIENTS
Chocolate buttons, chips or block
chocolat e may be used, preferably
plain (semi sweet or bitter) as thi s
gives the best contrast to
buttercr earn .
Chocol ate-flavoured blocks can be
used for much of this work.
Icing sugar
Liquid glucose
12
EQUIPMENT
Double boiler or saucepan and chma
Or glass basin
Wooden spoon
Palette knife
Greaseproof (waxed paper)
Cheese gr at er
Sharp poin ted knife
Star piping lube
Pencil
Compass
Rolling pH1
Paint scraper or butter pat roller
Cutters - round, fluted
Rose leaves
Tak
hole
you
Mel
Meli
ilne!
mall
stov
hot
chrx
the e
how
trOll
cho
awe
corn
Mal
Tak
(wa
cho
sure
Qui
pap
you
pap'
cho
pnx
lifrh
the
she
wh i
knit
up"
the
sprc
mar
cut
shal
Simple Chocolate
.J
Decorations
Take a cheese grater and usingthe large
hole, grate a block of chocolate unt iI
youhave enough foryour requirernen r.
Melting Chocolate
Melt some chocolate, either buttons or
finelychopped block, in the following
manner: put a saucepan of water on the
stove to hear, Allow it to become very
hotbut not boiling. Place your
chocolate chipseither into the top of
the double boileror in a-glass or china
bowl. Remove the pan of hot water
from the heat and stand the bowl of
chocolate over the pan. Stir gently with
a wooden spoon until the chocolate has
,
completelymelted.
Making Cutout Shapes
Take an uncreasedsheet of greaseproof
(waxed)paper and pour some
chocolate into the rniddleof it, making
sureyou have plenty of spaceall round.
j Quicklypick upeach comer of the
paper nearest youand lift it awayfrom
you. TI1en pick up the two edgesof
paper farthest awayand roll the
chocolate towardsyou. Repeat this
process byturning the paper round and
liftingthe opposite sides. This spreads
the chocolate out inro a thin, even
sheet, wi th no marksor indentations
which youwouldget byusinga palette
knife. The laststage isto flapthe paper
upand down a fewtimes to make sure
there are no air bubbles. This thinly
spreadchocolate willsoon dryand
many inretesting shapesCan then be
cut either with a knife. or with a
shaped cutter.
Piping Chocolate
Put some melted chocolate into a small
cup and add some water, drop bydrop,
until your chocolate thickens to the
consistency of buttercream, Stand the
cup in hot water to keep the chocolate
soft, becauseat this stage it will harden
up veryquicklv, Put some of the piping
chocolate into a greaseproof(waxed)
paper pipingbag. It willdepend on
what youare piping whether you havea
tube or not . For much chocolate pipi ng
a tube is not necessaryand simplyseems
to assist the hardening processmore
quickly. A star rube however isneeded
ifa shell border is to be piped.
Moulding Chocolate Roses
Rosesand other simple flowers may be
made as follows: mix equal quantities of
melted chocolate with liquidglucose.
Blendwell together in a bowl with the
aidof a wooden spoon. Tum out Ontoa
clean worksurfaceand knead briskly
with the heel of the hand. Ir will feel a
little like plasticine at this stage. Wrap
in tin foilor cling film (plastic wrap)
and useassoon as possible, to give a
really high gloss to the rosepetals.
13
c
1
at
rli
can alsobeused, but the curlswill have
a ridgedeffect.
Curved Leaves
These can bemade byattaching
greaseproof(waxed) paper to a rolling
pin and with a little melted chocolate
pipingdirectlyonto the curvedsurface.
Pipingchocolate must beusedas
ordinarymeltedchocolate woulddrop
offthe paper.
Chocolate Rolls or Cigars and Curls
A marbleslab is best for this process,
howeverifunavailable, usea spotlessly
clean plasticworksurfaceinstead. Pour
some liquidchocolate onto the clean
surface and veryquicklyspreadit thin Iy
backwards and forwards wi th a palette
k.n ife, increasingthe area of the
chocolate. Continue this until the
chocolate statts to dry, and the palette
knifeleavesa mark. For rolls, take a
lScm (6in) bladefillet k.n lfe or any
other thin-bladed sharp knife. Grasp
the handle of the knife in your right
-hand and placeyourleft hand over it to
add morepressure. Holding the blade
nearlynat all. top of the chocolate, draw
it towards you. TIle chocolate will then
curl into long thincigarshapes. The
longer the downwardpuII, the thicker
the cigar.
Curlsare madebypreparingthe
chocolate in the same manner as for
cigars, but the tool usedisa 2.5-4cm
(1-1
1
/ 2 in) paint scraper. Th istime you
push the scraperawayfromyou,
holding it in a more upright position
than the knife. A butter curlingtool
14
1
A
nyone who has been in Paris at Easter-time
will have seen some of the wonderful
Coloured
displays of coloured chocolate birds and
animals. The technique of colouring chocolate
is simple, it may then be used decoratively in
place of ordinary chocolate.
Chocolate
Colouringchocolate is nor difficulr.
andthe techniqueonce mastered opens
thegate toa whole newrange of ideas.
INGREDIENTS
Whitechocolate
Powderedfood colouring
Liquid glucose
Glycerine-based food colouring
EQUIPMENT
Saucepan
Glassor china bowl
Wooden spoon
Greaseproof (waxed) paper
Smallpalette knife
Small plastic cups
Small ladle or soupspoon
Cutrerand moulds, if required
Heat a saucepan about one-third fullof
water until hot , but not boiling. Chop
chocolate inrosmall piecesand place In
a bowl. Stand the bowlover the panof
water and gently stir with a wooden
spoon until the chocolat e has melred.
The white chocolate will not be as
runnyas melted dark chocolate as it
meltsat a lower temperature. about
44C (lIO"F) .
White chocolate maybe quite
granular even when properlymelted.
Smooth chocolate may beobtained by
standing a second bowl in hot water
and pouring the chocolate into this
through a veryfine metal sieve. Take
care to wipe the bottomof the first bowl
after it has been liftedfromthe water as
anydropsof water falling into the
me/red chocolate willcause it (Q
thicken andspoil. For this reason, do
not usewater-based liquidcolouring.
Ladlea little chocolare into a plastic
cup and add a little powdered
colouring. Mix thoroughlyuntil the
chocolate isevenlyblended. Place the
coloured chocolate back into the bowl
of melted chocolate and mix until the
desired shade isreached.
1. Ladle the chocolate into a plastic cup. Add the colouring a little at a time. 2.
3. Stir to mix, adding more colour as required. 4. The white chocolate is now evenlycoloured.
15
\Vhen making a variety of colours it is
necessary to make each Individuall y;
however, colours can often be mixed to
avoid the lengthy process of repetition.
Moulding chocolate may be treated
likewise.
Pale pink - can be turned inro dark
blue, purple, green and grey.
Lemon - can be turned into orange,
peach , green and brown.
A Iways keep the chocolate stand ing in
hot water to keep it Iiquid as wh ite
chocolate sets very quickly . If you are
working with several colours
simultaneously, stand the cups in a
roasting tin halffull of hot water.
Cutouts
Ladle the chocolat e onto a sheet of
greaseproof (waxed) paper lind spread
quicklywith a palette knife. You must
work fast as white chocolate sets
quickly. Pick up the edges of the paper
and flap them up and down to remove
air bubbles and knife marks. Leave until
the chocolate isJUStset before cutting
out shapes. For the best results work
wi th small quanti tiesof chocolate and
repeat the process as necessary .
16
(
(
Suggested Cutouts
Sar
Plaques: round or ova I, fluted or plain.
che
Geometric shapes: squares, diamonds,
rurl
circlesand half moons. 51i.1
Flowers: use blossom cutters in various
the
sizesand leaves.
sa \'1
Figure cutters: use the cutter of your
(12
choice, such as Father Chnstrnas, fir (
trees, rabbit s, rmce.
hut
an<
Cutout variations
cdg
Chocolate cutouts may be piped with
sitk
detail either byusing royal icing or with
easi
coloured, milk or plain (sweet or semi
SpO
sweet) chocolate. One cut ter may be (
superimposed upon an other, for ( he
instance, a flower can be made with a
har
dark centre attached to a paler outsi de;
bot
or a series of different col oured plaques
the
may be combined. Cutouts may also be
til t i
dusted with pet al dust to achieve a
o n t
shaded effect which is parti cularly
all.
attracti ve on flowers, leaves and
Tal
butrerfl ies. Leftover piecesof coloured
in t
chocolate maybe broken Into srnaII
spri
pieces and finel ychopped with a sharp co\'
knife . Theymayt hen be used like CIlI I
hundreds and thou sand s on the tops (
and sides ofcakes. Stare in an airtight ( 1/
4
i
container.
Dill
sug,
Mou [ding Chocolate
bel
Mould ing chocolate is used to make
I
flowers, leaves and sma II an irnals.
she
Colour the chocol ate before adding the
will
glucose usmg ei ther powder or paste
(I .
colours. EquC1 Iquant itiesof liquid
che
glucose and chocolate are then mixed
you
together and kne aded as described
on l
above .
chG
but
tun
in tc
EQUIPMENT
ach
Savoy bag
whi
Large star tube
mal
30cm (12in) silver cake board
one
Palette knife
drie
Turntable
the
Cheese grater
7-IOcm (3-4io) open circular cutter
2-4cm (1-11/ 2in) circular curter
Greaseproof lwaxed) paper
Bowl
Saucepan
-
Gateauwith
Chocolate Disks
Sandwichsponges together with lamof
choice and hutrcrcream. PIpe in cream
rather thanspread it as thisstops it
slJdi ngabout on jam and givesdepth (0
thesponge. Usea large srar rubc and
savoy bag, Place spongeon a 30cl1)
(12in) silver strawboard.
Coat spongeall over with the
butrercrcam, starting with the top unn]
an even surface is achieved. Neaten
l\ lgewi th tlat sideor palette kmfe. Coat
sidesofgateau. Thi s operation IS much
easier ifyou have a turnt able. Divide
sponl.:C intoequal portions.
Grateabout 250g (802) clthe
chocolate and hold the sponge in one
hand. with your hand fl at on 'the
botrom and pick up grated chocola te in
theother together by
tihingslighrly;md pressing chocolate
ontosides orcake unnl evenlvcoated
allround. Put backon cake
Take the largecircular cutt er and place
in the middle ofgateau. Thickly
sprinkleremaininggrated chocolate
coveringthe wholeof the inside area of
cutter. Gently remove c utte r.
Cut some thin strips of paper6m
( 1/4in) and layon top of the shav ings.
Dustthicklywith icing (confecti oner's)
sugar. Carefullyli(toflpaper. You will
beleft withan attractive striped effect.
Prepare some melted chocolate on <J
sheer (waxed) paper and
with asmall plain round curter 2.5-3 C111
(l -l lflin), cut out 12circlesof
chocolate into each marked section of
yourgateau; pipea whirl ofbut tercream
onoutside edge. Take ,1 circle of
chocolateand presslightly into
hurrercrearn whirl. PICk back offand
tumover. Pressplam side ofCircle back
intowhirl. The best results are
achieved in <J cool kitchen and the
whirl andhurrercream imprint are best
madeoneat a time rather than all at
once. asthe first one will probablyhave
dried too much to make a pat tern on
the chocolate.
Circles of dlOco1ar eforgateau with
t:hocouHe diskasseen on page 12, also
showingchaco/me cigan for rosegaleau
asseen on page 18,
INGREDIENTS
2x25cm ( lOin) whisked sponge cakes
500g (11b/2Ifl cups) vani lla-flavoured
but tercr earn
Srrawberryor raspberryjam (jeII y)
l75g ( l Zoa ) plain (semisweet)
chocolate
Icing (confectioner's) sugar
VARlATtoNS
Liqueur-flavoured Gareau: \Vhisked
spongesabsorbIiqueur-flavoured
syrups very well without
disintegrating. Puur evenl yover cake
bases before coating.
SYRUP
INGREDIENTS
600011 ( 1pint) water
500g (l Ib) granulated sugar
ju ice and zest of two lemons and one
orange
12 coriander seeds
Ci nnamon stick
Bay leaf
17
:
I
i
RoseGateau
Method
Melt the white and plain (semisweet)
chocolate in twoseparate bowlsover
pansof hot, nor boiling water.
Meanwhile, sandwich together the
spongecakes usingabout one-third of
the buttercrearn, Use the remaining
buttercream to cover the top and sides
of the cake. Draw the comb scraper
around the sides, neat en the edges,
then smooth the top of the cake usinga
palette knife.
Ladle a little melted white chocolate
ont osome greaseproof(waxed) paper,
flatten with a palette knife and flap the
paper up and down to smooth and
leveI. fu soon as It isjust set . cut out a
small oval shape. Return remaining
chocolate to the bowl. Following the
procedure above, cut out a larger oval
plaque in pink.
Colour the remaining pink
chocolate to a darker shade of pink
then add an equaI quan tity of Jiquid
glucose, mixwith a wooden spoon,
then tum out Onto a clean surface and
knead well. Cover with cling (iJm
(plastic wrap) and leavefor about 15
minutes beforemaking roses. When
the rosesare complete, colour the
remaining mouldingchocolate green
for the leaves. Flatten a walnut-sized
knob of chocolate between the thumb
and forefinger, place on a flat surface
and scampout a rosele<lf usi ngthe
cutter . Mark veins on leaveswith a
sharp knife. Refrigerateleaves jf they
are too softto hand le,
Make about twodozenchocolate
rolls from the plain (semisweet )
chocolate . Fasten the small white
plaque to the largerpinkone and
arrange the rosesand leaveson top. Lift
with palette knifeonto the centre of the
cake. Markthe cake into fourand
arrangechocolate rolls. Cut verythin
scrips of paper and arrange on the rolls
18
equidistant apart . Gentlv sieve the
icing(confectioner's) sugarover the
top, carefullyremove paper strips. Place
chocolate rose leaves in the corner-of
the rolls.
TIl isgateau isnot suitable for
refrigeration, ,IS ifexposedto alternate
cold and warmair.condcnsation will
formon the chocolate causing the
flowers to droop and become sticky; the
icing (confectioner' s) sugar would also
dissolve.
INGREDIENTS
2x25cm ( ! Oi n) whisked sponge cakes
125g (4ozl1 cup) raspberry jam (j eIIy)
500g (1Ib/21f 2cups) vanilla-flavoured
burtercrearn
250g (8oz) white chocolate
60g(Zor) liquidglucose
Pink powderedcolouring
Christmas green pastecolouring
250g (8oz) plain (semisweet)
chocolate
Icing (confectioner 's) sugar
EQUIPMENT
28cm ( Ibn) cake board
Turntable
Palette knife
Comb-edge scraper
Greaseproof (waxed) paper
J4x 12cm(5lj2x4in) oval cutter
8x5cm (3lj2x2in) oval cutter
Thin-bladed sharp knife
SCIssors
Fine sieve or icing (confectioner's)
sugar Dredger
Rose le<lfcutter
2saucepans
2 glassor china bowls
2wooden spoons
VARIATIONS
Pipe the recipien t's name or the
occasion, on the plaque or usesugar
flowers. Tiny marzipanfruits could be
arranged in a little mound while dark
chocolate medallionsattached to the
white surface can lookquite stunning.
Spre
spon
smoc
fairly
Sma
using
of cal
Place
cake
Me
(lOin
(wax,
comj
anorl
paper
sprca
six 3.
Cut c
trion,
of the
comh
pur pi
stripe
dark I
Ta
pour
ot wa
consi
Coffee Gateau
EQUIPMENT
Greaseproot (waxed) paper
JOcm (12m,) cake boa rd
Pencil
Compass
Palette knife
Small sharp knife
Piping bag
Large SWr tube
Comb scraper
Turnr..ble
Spread apricot jam(jelly) on baseof
sponge. Pipewith coffeebutrercrearn;
smoothandflatten. Cover top of gateau
fairl ythicklywith coffeebutrercrearn.
Smoothroundwith palette knife, then
usingacombscraper,draw round sides
ofcakeasifcoating with rova I icing.
Place on cakeboardand mark top of
cake into 12equal sections.
Meltthe chocolate. Draw a 25c111
(I Gin) circleon a sheer of greaseproof
(waxed) paperand, with the aid of a
compass, divide it into 12 sections. On
anothersheet ofgreaseproof (waxed)
paper poursome morechocolate and
spread out thin lv, allow to dry. Cut out
six 3. Scm (! III in) squaresof chocolate.
Cuteachone diagonally, giving 12
triangles. Stick these all round the base
01" thegateaubypressingslightlvonto
combedside. take backoff, reverse and
pur plainsideto edgeof cake. The
striped effect of coffeeburrercrearn on
dark chocolateis most attractive.
Takea little melted chocolate and
pour intoasmall cup. Add a fewdrops
ofwater until it has reached piping
consistency. Put into a paper piping
bag: cut offend of bag leaving a hole
about the sizeofa No 2 plain piping
rube. Pipe a f<1Ir1y thick line round
every other segment of your drawi ng.
Repeat the process, but 111 every other
segment, or do them one at a time. Put
some more pipingchocolate into
anether bag and pipe in between the
chocolate frame in a squiggly pattern,
maki ngsure the chocolate touches the
edgesof frame and tha t the Iines touch
each other, (see derailed photograph).
These pieces dryqui te quickly. As they
do so, easeoff paper with a palette knife
or by taking the paper to edge of table
and gradually peeling off. As you
complete each piece put to one side.
On each segment of the gateau pipe a
line ofburtercream with 1cm (llzin)
plain til be from near centre to ou tside
edge, pipe another-on top Scm (2in)
along outside edge and a third on top of
that about 2. Scm( ! in) long. With the
19
INGREDIENTS
2x25cm(lOin) coffeesponge bases
Apricot jam (jelly)
;OOg (lib/I V! ClIpS) coffee
buttercream
SOOg (lib) dark (semisweet)
chocolate
I walnut
12angelicadiamonds
aid of a palette knife. lift lip segments
and prop each one against the line of
cream tintiI you havecovered the top of
the cake. Pipe a whirl of butter cream in
the centre and decorate with a walnut
and twelve angelica diamond s.
Small piped decoration that can be used
on gateaux or fancies.
Strawberry
Chocolate Gateau
Method
Take two lScm (I Oi n) spongebases
and spreadone with strawberry jam.
Wash, hull and quarter about 125g
(40z) freshstrawberries, Place in a bowl
and sprinkle with a little sugarand a few
drops of kirsch ifrequ ired. Whisk the
cream to pipingconsistency and fold
one-chirdof the cream into the
strawberries. Spread onto jam and place
the other sponge on top.
Spread remaining cream on top and
sideof gateau. Markinto) 2portions.
Pourmelted chocolate OnW a sheet of
greaseproof(waxed) paper. Proceedas
forcutout shapes. Press grated
chocolate round bottomedge of cake.
When set, placethe 25cm (LOin)
sponge tin (pan) on the chocolate and
cut round the ti n usinga sharp knife to
produce a largechocolate circle. Using
a long bladed knife cut circle into 12
even triangles. Melt some redcurrant
jellyin a small saucepan adding justa
little water to thin slightly. Wash and
dry U even sized strawberriesleaving
on the greenculots. Hold the culots
a[1J dip the strawberriesinto the jelly.
Put onto greaseproof{ waxed) paper to
set. Placestrawberries, thin edgeto
centre. Easesixchocolate segments
offthe paperand thicklydust with
icing (confectioner's) sugar.
20
INGREDIENTS
25cm(lOin) whiskedsponge bases
Strawberry jam (jelly)
Small jar redcurrant jeII y
l50g (80z) melted chocolate
125g(40z)strawberriesplus 12 even'
sized strawberries
600ml ( I pull/ zcups) whipping
cream
60g (20zJ V4 cup) caster (superfine)
sugar
king (confectioner's) sugar
Kirsch
EQUIPMENT
30cm (lZin) cake board
Greaseproof (waxed) paper
Palette knife
Turntable
Whisk
Bowl
Saucepan
Icing (confec rioners) sugar dredger
25cm (Win) cake tin (pan)
Sh.arp knife
Moulded Roses
To use this modellingpasteand achieve
the best results, allowto rest ina warm
roomforabout an hour after making.
When making the petalsuseonIr
walnut-sized piecesat a time. Donot
worry if it feelsverygreasy to the couch,
this isbecausethe warmth of the hand
melts the cocoa butter in me chocolate.
Mould a pieceof the paste about the
size of a Iittle fingernail into a pear
shape. Srand upright fat sidedown.
Take a small pieceof pasteand roll
between palms into a sausage shape.
Wi th thumb and forefinger of left hand,
fiatten out top pieceof sausage. Hold the
rerna
right
palm
toou
end 0
outsii
thum
with
nip 01
petal!
surfac
S u g g e . ~
piped a
(
remainder withthumbandforefinger of
right hand. Lay flattened edgein the
palm ofthehandwiththe railpointing
to outside edge ofhand. With the thick
endofadouble ball tool, gentlythin
outside edge ofpetal. Holdpetal with
rhumb andforefinger of letihand and
wilh thumb andforefinger of right hand
nip offsurplus pieceofsausage. TIle
petals will befloppy, solay Oat on
surface to set.
Suggested sllJ.lpes for chocouue ClOlIIS and
IJiped de.ural iIJ115
Make two petalsabout as bigas
thumb nail. Pickup centre- pieceand
by on petal two-thirds to the leftofit.
Wrap left edgepetal over centre. Take
second petal and layinsidethe first
petal bringinground to overlapoutside
first petal. With thumb gently roll back
outsideedgeof petals. The build upof
the petals isasfollows, tucking one
insidethe other until youhave
completed the sequence.
Bud- pear shape + 2 petals
Halfrose- pearshape + 2petals +3
petals
Full rose- pear shape + 2 petals + 3
petals + 5 petals
Makeeach layerof petalsslighcly larger
as they extend outwards.
21
I
\
Tcmplalc.1 for iIIl1slTW l'd in this Il'sson
22
. .
LESS N2
Cho. olate
ggs
& tgures
M
aking your own Easter eggs and
chocolate moulded figures can be great
Chocolate fun. As well as gifts for the family, they can
be given as presents to friends and children.
Easter Eggs
To be sure of success there are certain
basic principles which have to be
(allowed. Working with chocolate is
not difficult providing you know the
rules.
Rule 1: Buy the best quality moulding
chocolate; chocolate-flavoured cake
covering will not do.
Rule Z: N ever overheat chocoIate.
Rule 3: Never allow water or steam to
get into the chocolate.
INGREDIENTS
Chocolate buttons (chips) or block
chocolate either milk (sweet), plain
(semisweet) orwhite
Icing (confectioner's) sugar
Eggwhite
Food co lou ring for eggs, decorated
with piped sugar flowers
Ribbons for eggs and rabbits.
EQUIPMENT
Easter egg mould
Animal or figure moulds
Dauble saucepan or saucepan and
china or glass basin
Wooden spoon
Small ladle
Greaseproof (waxed) paper
Pip i ng tubes
Small sharp knife
Tissue paper
Purchasing Materials
Most sugarcraft shops wi il stock aII
you need to make your eggs or
moulded figures, and some hardware
shops and supermarkets also sell
moulds. Expensive plexi-glass moulds
may also be hired or ordered specially.
Many supermarkets as well as
specialist shops now sell moulding
chocolate, your local baker may also
be able to sell it to you. Health stores
will sell carob.
Method
Check that your Easter egg mou ld is
spotlessly clean and dry. The moulds
are bought in halves and can be either
smooth surfaced or a crazy paving
pattern. When you are satisfied they
are dry, take a clean, sott cloth and
polish the inside. Put some water in
the saucepan or bottom of t he double
boiler and place on the heat until very
hot, but not boiling.
Half fill basin or top of double
boiler with chocolate. If you have
bought block chocolate cut it into
small pieces before putting it into the
basin. Stand basin of chocolate in the
water. Stir gently with wooden spoon
until chacoIate has me1ted. lt shou ld
be at a temperature of about 44C
24
(110F). Maximum workable
temperature for plain (semisweet)
cbocolate is 49C (120F), it is not
possi ble to work with chocol <J te tha r
has been overheated. White and milk
(sweet) chocolate should be used at a
slightly lower temperature 42C
(105F) . Ifyou do not have a
thermometer , crook your lirrle finger
and rouch the chocolate with the flat
side. The chocolate should feel just
warm (the correct heat) .
Cut out some rectangles of
greaseproof (waxed) paper slightly
larger than the mould.
Pick up the Eastc r egg mou ld,
holding the rounded part in the palm
of your hand, and ladle in some
chocolate until it is about one third
fu11. Gently tilt the mould in all
dire
COv(
area
andl
SUT(:
upsi
the
dry..
I(
COOl
basi
bac!
U
pee'
cho
hav,
the
and
the:
rep<
directions until the chocolate has
covered the whole of the egg-shaped
area. Hold the mould over the basin
and rum it upside-down, allowing the
surplus chocolate to drip out. Still
upside-down, place the mould onto
the cut rectangle of paper. Leave to
dry. This takes about ten minutes.
If the water in the saucepan has
cooled considerably, take our the
basin of chocolate and pop the pan
back 0[1 the stove and reheat water.
Check the inside ofegg is dry by
peeling off the paper. If dry, the
chocolate should look dull. If you
have a little ridge ofchocolate inside
the egg, shave it off with a sharp knife
and put surplus back in basin. Ref II
the egg with liquid chocolate,
repeating the same swilling and
emptying motion as before. Replace
on greaseproof (waxed) paper.
Put the egg halfor halves into the
refrigerator. Look at the egg after 15
or 20 minutes. If the surface through
the mould has taken on an overall
silvery-grey colour, the egg is ready to
be unmoulded. Remove from fridge
and peel off the paper. Lay mould fla t
side down on paper. Hold each side of
the Oat edge of mould and gently pull
sideways. The egg shouId then just
drop ou t . T ri m edges of the egg with a
sharp knife.
To assernble, take a piece of tissue
paper, fold it in balflengrhwise, in
half again and twist round into a rope
shape, bring both ends together and
tuck one around the at her un ti I you
have formed a ring of t issue paper
25
with a hole in the middle. Chocolate
should be handled as little as possi ble
as it marks very eas iIy. Li ft the bot tom
halfof the egg and place it hollow side
up in your tissue paper nest.
Ifyou wish to fitl the egg with
chocolates it is best to put some paper
shavings into h ~ bottom half of the
egg, as these will cushion the weight
and stop the egg from breaking. So at
[h is stage fiII [he lower halfofegg with
shavings, tucking them in neatly, and
place in your chocolates.
Remove top halfof egg from
mould, using the same method as
before. Gently holding egg, dip edges
into melted chocolate and place over
the bottom egg. This will seal the two
hal ves toge[her. Your egg is now
ready to be decorated.
Moulded
Easter Eggs
Ladle melt ed chocolate int o the eggmould until Gent Iy tilt the mould ina Udirect ions linti 1the
it is about one-third full. . surface is cornpleteIycovered. 1. 2.
3.
Tum the mould upside-down and allow surplus
chocolate to drip int o the basin,
Place the mouIdon greaseproof (waxed ) paper
and refrigerate un til se r. Repear steps 1-J.
5
The choco late looks silvery when it is set ,
carefully unrnouldand trim the surplus chocolate
Dimini shing sized eggscombin ed to create the
Russian doll effect .
from the edges of the mould using a sharp kn ife.
26
Decorating Eggs
Chocolate
Decoration
Put a little melted chocolate in J smJ11
cup and add a few drops of water U nti I it
thickens to piping consistency. Put a
small star tube into a pipi ng bag. Scrape
Inchocolate and pi pe she lis round the
join between the two halves. This looks
very attract] ve if you have a nul k
chocolate egg and you pipe the she lis in
dark chocolate, and vice versa.
/
27
11
28
Two Chocolate Egg
An atrracuve variation to single flavour
Ch ocolate is to combine milk (sweet )
with plain (semisweet ) in the
following manner: melt two basins of
chocolate , one milk and one plain as
in the method previouslyexplai ned.
Take some plain chocolate and put
into a small cup. Thi cken slightly
with a fewdropsof water. Put into a
piping bag without a tube. C ur off the
end of bag, leavinga small hole. Pipe
in a cornelli design all over the inside
surface of the mould. Ladle in two
coats of mi Ikchocolate as previously
described.
When stuck together pipe round the
joins with dark chocolate. Decorate
with chocolate rosesand leaves.
Royal Iced
Decoration
Make upsome royal icing. Tin t to a
colour of your choice. Put into a piping
bag with a small star rube and pipe a
shell border round the join between the
two eggs.
The eggcan bedecorated with piped
sugarflowers and leaves; bows;artificial
flowersand fern; moulded chocolate
rosesand roseleaves; and part icularly
attracti ve is the pipingof the recipient 's
name on the egg.
Clear cellophane boxescan be
bought at most florists. TIle eggcan be
laidon coloured tissuepaper and the
box tied with a ribbon. Equally, proper
Easteregg boxesare nowavailable at
most sugarcraft shops.
o
Ta
me
cin
thf
roe
frill
the
an<
on .
the
Sl
Bu,
(4i,
hall
sun
and
ina
nee
bor
I
srif
but
a p ~
pip
sun
are
spa
All
rhe
a ICl
bas
sin!
chc
lea'
Half Egg with
Chicken
Take a half Eastereggand secure with
melted chocolate upright on a cutout
circle of chocolate about 6mm (V4in)
ch ick, Pipe dot border of chocolate
round circular base and atta ch a Garrerr
frill and bowaround the outer edgeof
the egg. Fill base with miniature eggs
and securea small fluffy chicken sitt ing
on top of eggs. Pipe the child's name on
the flat baseof chocolate, if desired.
Slimmer's Egg
Buya ballon, Blowit up toabout JOcm
(4in) in diameter. Mark a line round
halfthe baIloon wirhpen. Lightlyoil
surface of balloon with vegetable oil
and place thin end up, slightly angled,
ina ringof tissuepaper. Holding tied
neck of balloonwith one hand, pipe a
border followingthe marked line.
FiII another piping bag with sligh t Iy
stiffenedchocolate. Do not use a tube,
but cut off bag to make a hole
approximately the size of a N02 plain
pipingtube. Pipesquigglesall over
surface between shell piping, covering
areaweII but leaving enough small
spacesso that the finished effect isl-acy.
Allowto dryat room temperature, Pop
the balloon, which will leaveyou with
a lacy looking half Eastereggshape.
Secure the half onto an oval shaped
baseof chocolate. Place in base of egg. a
singlerosemade frommodelling
chocolate, then arrange smaller roses,
leavesand budson the oval base.
29
Chocolate
MouldedFigures
As a change from Easter eggs small
children love the Easter bunnies,
ducks and other figures. In addition ,
many attractive moulds for Christmas
figures to hang on the tree can now be
purchased. Small moulded chocolate
figures or space rockets can be an
added extra to a child's birthday party
as a cakehome gift. These smaller
figures need about 3060g (1-20z) of
chocolate and therefore are fairly
inexpensive.
There are two main types 0" mould
on the market: the half moulds where
two sides are stuck together, as with
the eggs, these are usually made in a
soft, easy-care transparent plastic: or
there are more expensive rigid plastic
moulds, where the figure comes
out all in one piece. These rigid
moulds are in two halves which clip
together and range from Scm (2in)
figures to ones several feet high .
EQUIPMENT
Moulds
Double boiler or saucepan and basin
Glass or china bowl
Wooden spoon
Ladle
Greaseproof (waxed) paper
Small, sharp knife
Good qualitv block or button (chip)
moulding chocolate
Ribbons
Chocolate Figures
The method of preparing the chocolate
isfully explained in the Easter egg
section . Exactly the same method
should be followedfor figuremoulding,
paying particular attention to the
heating of the chocolate at all times.
The figuremoulds <Ire full of
indentations. f;lT more so than the
Eastereggmoulds. therefore special
care must be taken to ensure each
crevice IS thoroughly clean and dry
before use. Should the chocolate stick
never try to gouge it out with a sharp
knife or usea rough surfacedpad.
Alwayswashmould in warm, soapy
water, rinse with clean, warm water
and dry thoroughly. Then polish mould
with a soft, clean cloth.
l
I
.i
I
I
I
I
I
I
i
i
I
I
I
Prepare chocolate. Cut squaresor
rectangles of greaseproof (waxed) paper
larger than the baseor flat sideof
mould. Half figures are made in exactly
the same wayas Eastereggs,SWilling
round the chocolate to cover all areasof
the mould. However. because there are
so many indentations it might be
necessaryto give the mould a sharp titp
on the table to make sure all the cracks
and crevices have been tboroughly
coated. Reversemouldover basin and
allowany surpluschocolate to drip back
111. Placeflat side down onto paper and
allow to dry.
\'V'hen dry. repeat the processwith a
second coating ofchocolate; put back
onto grcaseproof (waxed) paper. Put
into fridgeuntil the silverygrey
10
appearance on the outside of the mould
tells you that the chocolate isdry and
has conrracred away from the mould.
Remove from fridgeand tum out . Any
surpluschocolate extendi ng beyond the
figureIine can becarefullycut away
with a small, sharp knife. The two
halves of the figurecan then be
cemented together aspreviously
mentioned for joining Eastereggs.
Bows can be tied round the necksof
f i g u r e . ~ where appropriate, perhaps a
different colour foreach child, or with
Christmas angels forexample they can
be tied with gold and silver thread and
hung on the Christmas tree. Given as
small giftsfor unexpected visitorsthey
should create 3n excellent impression.
R
Th
pre
flg-(
Il1G
les
ar
fig
tc
II
(;
1
Rigid Plastic Figures
These mouldsare quite cost Iybut
produce excellent results, making
figures somewhat larger than the half
moulds. The finished product requires
less handling than the halves, and they
aresowell made that everydetail of the
figure stands out sharply. The moulds
aretoughand rigidand shouIdlast a
lifetime. The average mould has
between four and (j vestrong metal clips
to hold the rwosides together. An
18cm(7in) high bunny takes about 75g
(2
1
/ 20Z) of chocolate.
Making Rigid Plastic
Figures
Method
Check that the mould isspotlessly
clean and dry, payingparricular
attention to the ears, nose and tailor
similar lndentations with other moulds.
Polish well. Clip together. Prepare
chocolate. Cut out squareof
greaseproof(waxed) paper larger than
baseof figure.
Hold mould upsidedown, and ladle
in chocolate, half/liling mould. Tap
sharp!y to get rid ofany air bubbles
whichmight he trapped. Wid, a tilting
action towards you, gently roll the
mould round and round. Bringthe
chocolatc evenIy cowards the baseof
the rnouId. It isbest CO do rhisholdingit
over the basiri, so that surplus
chocolate willdripstraight into the
basin. When the chocolat e has stopped
dripping, lookdown through the
mould, holding it to the light. Ifyou
can see davl igh: anywhere this means
the chocolate was slightIy too warm
and slidoffthe surface. Recoat with
morechocolate.
Stand moulduprighton IXlper and
leave unti I dry. Recoat the insideof
mould. There isno need to tap this
time, but roll chocolate down to the
basein the same manner as before.
Drain over basin. When the chocolate
has stoppeddripping, placeon a square of
greaseproof (waxed) paper and put into
fridge. Leave in fridge for 20 to 30
minutes unriIthe rnouId has taken on a
silvery-grey appearance. Remove from
fridge.
Take offclips. SIide the point ofa
sharp knife or thumb nail between the
joinof the rwohaIves of mould. One
halfof the rnou Idshould just come
away. Lay the figure, exposed chocolate
sidedown, hold each side of the mould
withfingerspuII ingsideways, and at the
same timepressdown on mouIdwi th
th UQl bs, Tlus should releasethe figure.
Handl e as little as possible. Stand
upright, and placeon bowaround the
neck where suitable.
Ladle the chocolate into the
mould, roll round until the
entire figure is thorough Iycoated
with chocolate.
31
1

2.
Drain the excesschocolate
3.
Stand Onpaper and chill until
from the mould into the basin. set and silvery-grey.
4
To unmould, remove the clips
fromthe side of the mould by
pressing firmly with the thumbs.
32
Pull the mould apart gently
5

Decorative Ideas
With rabbits parricularlvor with the
angels, melt a little white chocolate
and pipe into ear and taiLor wing
cavities. Then proceed with a double
coating ofchocolate.
Milkand plain (sweet and
semisweet) chocolate can be used
together to highlight any feature in the
mould of your choice. Rabbitsof
varying sizescan be madeand placedon
acake top covered in green marzipan
that has been pushed through a sieveto
resemble grass.
LESSON 3
Marzipan
Figure
Modelling
1
M
ak ing your own marzipan figures is
great fun and with a little practice
Marzipan
excellent results can be achieved.
Figures
Marzipan is made fromground
almonds and caster (superfine) sugar
piusegg white and sornet irues Iiquid
glucose. Becauseof the high
percentage of oil in the almonds,
working with the paste under certain
conditions means it becomes rather
oily. II isbest not to make figures in
damp humid weather if it can be
avoided. The paste becomes very soft
andsticky, difficult to handle and the
flgureswill droop. However , a little
dry icing (confectioner's) sugar worked
into the paste wi II help to stiffen ir up.
For figure modelling the white
marzipan is most appropriate because
it iseasy to colour, and some <I nirnais,
such <IS the panda, require white
marzipan. Good quality white
marzipan ison sale in most
supermarkets these days. Sugarcraft
shops always have a plentiful supply.
If making your own , it IS best 10 use
icing sugar with the ground almonds
as this will produce a smoother
textured paste with which to work.
Always work with clean urensi Is,
hands and worksurfaces and wash
hands frequent Iyas they wiII become
sticky. Alwaysdry hands thoroughly
as damp hands will make the paste
tacky. Use icingsugar to keep hands
and table surfacedry. Never use flour
as this will cause fermentation,
cornflour causes crackingand leaves
white patches in coloured paste and
caster sugar is too granular.
Paste can be coloured with either
dust or paste COI OUTS. It is nor wise to
use Iiquid food colourings as the y
make the marzipan sticky,
particularly ifa strong or dark colour
isrequired.
The marzipan figures will dry off
verywell at normal room
temperature, but keep away from
strong sunlight which will soften the
paste causing the figures to wilt.
Never put completed figures into
plastic boxes, covered ti ns or shut
awayin kitchen cupboards as thi s will
alsocause the marzipan to soften and
the figures to disintegrate. It takes a
verylong time for the figure to go rock
hard, at least six months, after which
time it does not taste verr good.
There are many recipes for making
your own marzipan, a selection of
which have been given in book I.
However, the rule of thumb is twice
the amount of icing sugar to ground
almonds and 60g (202) egg white to
500g ( lIb) dry ingredients. For the
real perfectionist, a professional
recipe used by the experts is;
400g ( 140z) raw marzipan
SOg (21/20Z) liquid glucose
JOOg (100Z/2
I
/ 2 cups) icing
(confectioner's) sugar
Marzipan should be stored in a
sealed plastic bag to keep it pliable
and to stop a crust from forming. If
youdo have a crust, cut it offWitha
sharp knife and check that no
fermentation has taken place by
smell ing it. Re-knead before use.
34
Never try to knead in birs of hard
crust , as they will not soften and
simply make figure moulding
impossible.
EQUIPMENT
Food colouring, powder or paste
Royal icing for piping eyes and small
derails
Cocktail st icks
Small rolling pin
Small scissors
Eggwhite
Marzipan modelling tools
Stamens with the ends cut of( for
whiskers
Each ortHI
approximc
weightanc
ungainly. I,
(2in) ande
Some figufl
pieceo(mal
as many as V
Bronto
Colour60g ~
coffeebrown I
palmsof hand
lightly on war
icing (confect.
lx)(t;)l11. Pull 0
pear shape. FIe
Holding the
to puIIout ned
When it isabol
over 2cm (%i n
Pushacockt
orthe neck to 5
o( a small knife,
parr of the head
out feet ITom rh
ones being well
mark clawswith
Mark the body <'
sharp knife to gi
look. Pipe in eyt
white and a srna
The placing of tI
determine the eJ
NOTE: Anys
animal must be\\
stick in the neck.
T
hese are a great favourite with small
children, who simply love eating the
Prehistoric
monsters.
Range
Eachof the figures weighs
approximately 60g (2Ol). Over that
weight and they tend to become
ungainly. Average hei ght is Scm
(lin) and overall length 7. Scm (3in).
Some figures are fashioned (rom one
piece of man i pan, others comprise of
as many as ten separate pieces .
Brontosaurus
Colour60g (2m) marzipan a dark,
coffee brown colour. Roll between
palmsof hands to a pear shape. Press
lightlyon worksurface, dusted with
icing (confectioner's) sugar to flatten
bottom. Pull out tail f"rom sharpend of
pearshape. Flatten and round off.
Holding the body in one hand , start
to pullout neck fromfar end ofbodv.
When it isabout 5cm (2in) long, bend
over 2cm (3f4in) to formthe head.
PU.'Sh a cocktail stick down the length
of the neck to support it. With the back
ofa small knife, cut a slit in the lower
part of the head for the mouth. Pinch
out feet from the main body, the front
onesbeing we11 forward. Flatten and
markclawswith the back of knife.
Mark the body all over with t he tip of a
sharp knife to give the skin a textured
look. Pipe in eyes, usea largedot of
whiteand a smallerdot of chocola teo
The placing of the chocolate dot wilt
determine the expression on the face.
NOTE: Any small child eating this
animal must be warned of the cocktai I
stick in the neck.
INGREDIENTS
60g (2oz) marzipan per ngure
Royal icing
Eggwh ite
Dust or paste food colouring
Dry icing (confectioner's) sugar
EQUIPMENT
Piping bags
Scissors
Small sharp knife
Cocktail sticks
Paintbrush .
35
Tyrannosaurus
Colour60g (2oz) marzipan green.
Divide into two. Roll one piece [ncoan
elongated pear shape. Bend the thinner
end to lift up. whi le holding fatter end
presseddown on worksurface until the
piece will stand upright hyitselfwith
the tail flicking up slightly. Wi th the
scissors make two Cuts near top of fartesc
part , keeping tail to the back. Flatten
the cut pieces with thumb and
forefinger to (om, the \;laws. Divide the
\ ~ ~ n \ ' d \ n m g paste.in 'ha\\ .-ra'Keone piec.e
\ and [0\\ ir\to<\00\\. Gradua\\'1 square off
baHstrokingone side downwardsfor
fronr ofhead. This will also elongate it
slightlyat the same time. Cut slit in
head (or mouth and attach to body with
eggwhite. Cut two thrn stripsout of[he
almond for teeth and stick each side 0(
mouth. Divide the remainingpaste in
twoand roll into sausages about 2.Scm
(1in) long. Form into reverseSshape
and flatt en one end to repr esent paws.
Stick legs either side of bodywith egg
white. Take a No3 plain piping tube
and genrlvpoke all over body. Pipe in
eyes.
e
36
Stegosaurus
Colour a pieceof marzipanthe size of a
thumbnail a light, coffee colour. Roll
out with a rolling pin until about S. Scm
(2IJzin) longand 12mm(IJ2 in) wide.
Witha round flutedcutler , cut frill .
Withasharpknifetrimoffin a curve
following lineofscallops making it
thinner at each end. With remaining
spare piececut out the horn (or the rail.
Between palmsof hands roll
marzipan into a ball, and wirh outside
edges of hand gently roll each end of
ball togive it adouble ended pear
shape. Pull out andflatten one end for
thetai I. PuJ Iau rother end but keep
morerounded lot the head. Cut slit for
mouth with the back of a knife.
Pull out feet by pinch ing marzipan
between fingerand thumb. Mark
claws. Painr a little eggwhite down the
spine of the ani mal and attach the
scalloped piece. Attach the homwith a
dot ofeggwhite. Pipeeyesas (or
bront osau rus.
Dimetrodon
Colour60g (202) marzipanwith edible
plumdusting powder. Break offabout
one, eighth of the paste. Roll rhis out
thinlyand cut out a 1-\fIlf moon shape
about 5.Scm (2 V2in). Mark with back
ofknife. OlV ide rernai nder into four
balls. Elongate slightly, flatten one end
andmark in claws.
With rest of the paste roll j nto a flat
cigarshape. Pullout tail. The head is
rather like that of a tortoise, sowhen
pulling keep it rounded rather than flar
or pointed. With rhe backofa knife
gently pressthe Circa between head and
bodyto givea distinct division. Mark
bodyallo ver bygentlypressingsharp
side ofknife to make veryshallowcurs.
Cut slit (ormouth. At tach (eer and thin
frill onbackwith eggwhite. Pipe in
eyesasforbrantosaurus.
37
--

Wild Animals
Baby Seal
Divide wh i te paste into four . Take two
small finger nail sized pieces of white
paste. Roll into sausages 18rnm (%in)
long and flatten out to 12mm (thin)
wide for flippers. Mark paws with a
sharp knife.
Roll thtee-quartersof the rnarzi pan
inro a lon g pear. Taper-end then [larten
out. Snip end and llauen each half with
thumb and foren nger to represent tail.
Fasten (]ippers with egg white each side
of front of body. Roll the remaining
marzipan into a balI, pinch out centre
to a point, Wit h forefingerflatten the
point and push back into the head to
make the littlerounded nose. Stick on
head with nose in line with front right
tl ipper. Put some chocolate icing in a
bagwith" NoOtube. Pipe tiny dots all
over-seal.
Pipe I n nose and mouth. To give the
seal <In endearing look, pipe largeeyes
in ch ocolate only. Affix three black
stamens each Side of the nose to
repre sent whiskers .
WI
Colm
rwo b
( lAin :
rcmai
enoug
finsar
flatter
isshar
fracrk
Start 1
shape
moulc
and rl:
wirh s
upwar
pressir
torefir
bend ;
Ro l
one er
part r]
upper
either
Fasten
white ,
keepir
tongu,
shghrl
middle
will He
severa
,
.
.
.
'
,! ...
. '.


..
.

..
, t

~

.. ... :
38
Whale
Colour tiny pieceof paste pink. Make
twoballs, flattened out about 6mm
( l / ~ in) across. Colour three-quarrersof
remainingpaste black. Pinch off
enoughto make three fins. Two side
fins aresmallsausages 2.5cm( 1in) long
flattened to 6mm ( V4in) wide. Backfin
isshapeds]ight1y thickerat baseand
fractionally curved with a rounded tip.
Start with 12mm ( l,!li n) long sausage
shape. The main body of black is
moulded likea cigar, the tail pulledout
and then [latrened. Make a cenrral snip
withscissors then flatten. Bend
upwards. Flatten underside of body by
pressing onto work surface. With
forefinger, flatten front end of nose and
bend upwards slightly.
Roll white paste Iikea cigar. Taper
oneend and flatten for mouth. Flatten
part that isto be fined onto the black
upperpart of body. Pinch up two pieces
either sideand pull slightlylorward.
Fasten two piecesof body with egg
white, pressing and moulding roger her,
keeping mouth well open. Stick in pink
tongue. Secure side fins pointing
slightlybackward, then top fin in lower
middle of back. Pipe in eyes. Ifthe tail
will not staycurved up, support for
several hours to secure.
39
40
Raccoon
Colour60g (2oz) marzipan light brown.
Pinch off a little ball about the sizeofa
small finger nai I and colour it dark
brown. These are (or the two stripes
round the tail, paws on feet and patches
on face. Roll out very thinly, cut two
strips 6mm X 2. Scm (l!4x I in) for tail;
two pear drops for the (ace (can bedone
with aspic cutter), and 6mm (1f4in)
circle for feet. Cut circle in halfand
flatten out slightly.
Take two-thirds of the remaining
paste and roll into ball for the body,
press onto surface lightly until it will
stand on its own. Wifh a sharp knife
make two downward cuts 12mm (l/zin)
in from each side of ball halfway down
the bodv. Pullout to form legs. press
ends flat to represent paws. With
remaining one-third ofpasre, nip off
about one-quarter and divide in half.
With one half rol I into a sausage, making
it thinner at one end for the tail. To
assemble. fasten dark brown stripes of
marzipan round tai l. Tuck under back
ot body securing with egg white. Attach
head, arms and brown pieces on paws
with egg white. With the other half roll
into a sausage about Scm (2in) long.
Cut in half. Flatten one end ofeach
small piece for paws. With remaining
paste, roll into a ball and with thumb
and forefinger gently pull out into a
pointed shape (rom centre ofball to
represent nose. Pinch out ears and
hollow slightly with ball tool. Put some
white icing into a bag and pipe on a
face. Smooth over with a very slightly
damp paintbrush. Attach pear drop
shapes onto wet icing. Ease into
position with a cocktail stick. Pipe a
little white icing in ear cavity, upsof
arm, paws and eyes. Finish by piping
brown nose, claws and eye centres.
Squirrel
Colour60g(2m) marzipana reddish
brown colour. Divide in half. Rollone
half into a pearshape, press onto
surface flatsidedown and lean slighrly
s forward. Dividerest ofpasre into three
pieces. Rollone-third into a sausage
5cm(Zin) longfor the tail making it
fuuer at one end. With a small, sharp
pairofscissors make little cuts pointing
upwards allover the tail. With another
third, fashion face,making it rather
pointed, and flatten either sideof point
to represent t he fat cheeks. Pinch up
ears andhollowwith small ball tool .
With remainingmarzipan, take about a
n)
quarter to maketwo little sausages for
arms and two largersausages for legs.
Bend the largersausages into a reverseS
shape forlegs. Flatten one end of each
for paws. To assemble, tuck tail under
body and proplipwith foamuntil set.
king
Fasten all remaining piecesinposition
with egg white. Pipe in eyesand a little
If cross inchocolate icing to represent
:k
nose.
ach
IS
roll
19 Panda
b
Coloor one-rhirdof the marzipan
black. Forthe arms rakehalf of the
black paste and roll into a sausage about
6cm (2
1
jzin) long. Bend round into a
halfmoon. Pinch off (\\10 small piecesof
black pasteabout the size of a little
tly
finger nail. Forminto ba lisand flatten
out for ears. With a ball tool, hollow
out thecentre. Take another tiny piece
ofb\ack, flatten out and cut two tiny
peardrops forfacialmarkings. Reserve
aminutepieceof the remaining black
(or the nose then div ide the rest in half.
Roll intofatsausages 18mm(J/4in)
long. Curve inwardsslightly, pinch up
ends andflatten forfeet. Dividethe
white pasteinto two, one slighrlylarger
thantheother. Take a tiny pieceoffthe
smaller ball, roll into a ball. stick black
noseon.
Roll white body into a ball. Press base
liar. Roll head into a roundshape. Stick
on nose. Make two indentations with
back ofknifeunder blackpiece
pointing downwardsat an angle. Either
side ofnosefastenpeardrops, thicker
enduppermost. Stickon ears. Fasten
anuswith egg white onto top of body
andattach legs either side, with the
inside curveof the legs tucking round
body. Stickhead into positionsecurely.
1-
41

,
I
i
Woodland Scene
Hl

Put 60g [Zoz) vanilla buttercrearn co
one side, colour the remainder brown
usingchocolate or food-colouring.
Coatboard with one-third of brown
buttercream. Unroll the white swiss
(jelly) roll and wrap it round the
chocolate one. Stand upright on board
towards back. Cut the other swiss roll at
<In angle and stick with buttercrearn,
pointed sidedown to sideof main roll.
Unwrap an y remaini ngswiss roll and
wrap round baseof upright log, cogive a
thick looking base. Spread brown
buttercrearn thickly allover logand
branch, leaving a flat surface. Fork
upwardsto make the surfacetook like
bark. Spread the 60g (Zoz) vanill ,1
buttercreamonto the flat surfaceof log,
Pipe tree ringsin chocolate icing.
Take 500g (lib) marzipanand colour
it green. Presssmall piecesat a time
through a wiremeshsieve to resemble
grass. SIiceof( with sharp knife and
place all over board and round tree
Small Log
Take60g (loz) marzipancoloured dark
brown. Roll into a sausageshape about
lOcm(4in) long. Hollowout ends with
the tipof a sharp knife. Score with I he
knifeallover log to look like bark.
Toadstools
Forthe stalk, make a fat sausageshape
thicker at one end. Stand firmlyon
surface to flatten end. The cap ismade
froma ballof paste flattened on one side
with the edgespulled thinner with
fingerand thumb. Attach the two
pieceswith eggwhite. The white paste
for the spotsisrolledout and CUt Out
with the knob end of a pen, attach with
egg white.
Ivy
Pipe ivystems at random round the log,
then stamp out leaves frornsome green
sugarpaste wirh a small ivy leafcutter.
Attach to the stems around cake.
Flowers
Rollout pink paste thinlyand cut Out
With ti nv blossomspring curter.
Arrange in clumps on grass in between
the animals.
trunk. Use the remaining marzipanto
make the animals
115g (40z) light brown for raccoon x 2
125g(4oz) red for toadstools x 4
125g(40z) red brown forsquirrel x 2
15g(1IlOZ) greyfor mouse
i5g (1/20Z) pink for flowers
250g (8Ol) dark brown forsmall logand
rabbits .
some whire dots for toadstools.
INGREDIENTS
500g (lib) vanilla burtercrearn
3 swiss (jelly) rolls.
chocolate and whire
1.2kg (2 Y21b) marripan
Royal icing
125g(40z) greensugarpasre
EQUIPMENT
Piping bags
Small ivyleafcutter
30cm (12in) cake board
Sharp knife
Scissors
Tin y blossomcutter with spring
nurs
methods of
isa heavy rr
ideally, the
to prevent I
breaking. 1
highnnd is
dowcl whid
skirt. Figun
morc unstai
smaller, tht.
(3 112 in) ano
stick, insert
part of t he11
children till
supports ani
Gn01f1
Head
Cnillur 1
tone. Roll i
slightly to f
<l hall tool. .
coloured p,1
triangle for
with a shaq
piece dark I
Colour 8
mould into
hall tool, h,
stand the"
C<
black forth
sausage. Di
into three;
trousers, ja
Trousers
Rol] into a
cut in rhe I
two pieces
legs. Flarre
stand inro
little egg w
Jacket
Roll into a
finger and
shape, cut
Fasten wit]
Push a cod
leaving 12:
attach the
sausages fo
42
F
igure modelling is an enjoyable, but time
consuming activity. Although appreciated
Human
by children as decorations for cakes, these
figures would also make excellent showpieces
for exhibitions and competitions.
Figures
These nurserycharacters represent two
methodsoffigure modelling. Marzipan
isa heavymaterial to work with and,
ideally, the fi guresshould be kept small
toprevent the marzipan bending and
breaking. The girlfigure is I Scm (6in)
high and issupported bya wooden
dowel which ishidden beneath her
skirt. Figures with two legs are much
more unstableand shouIdgenerally be
smaller, the gnomesare about SCm
(Jl/ li n) and are supported by acockrai I
stick, inserted through the bodyand
partof the head. Donot forget to warn
children that these figurescontain
supports andshouIdnot beeaten.
Gnomes
Head
Colour 15g(1/ 20Z) rnarnpan to a flesh
tone. Roll i nro 3 ball and elongate
slightlyto formjowls, indent eyeswith
aball tool. Take two tiny ballsof flesh
coloured paste and flatten into a
triangle forthe hands, mark in fingers
witha sharpknife. Colour a minute
piecedark pink for I he nose.
Colour8g(1I40Z) marzipan brown,
mould into rwopear shapes and, with a
ball tool, hollowout the fat end to
stand the legs into. Ease upsides
slightly. Colour a small ball of marzipan
black for the belt, roll into a long
sausage. Dividethe remaining paste
intothreeand colour bright!y for the
trousers, jacket and cap.
Trousers
Roll intoa rectangular ball and make a
cut inthe middleofone short side, ease
two pieces apart and roundofffor the
legs. Flatten the baseof each legand
stand into the shoes securing with a
linleeggwhire.
Jacket
Rollintoa recrangular baII and WI rh
linger and rhumb hollow into a bell
shape, cut a small V in the centre.
Fasten with egg white onto the trousers.
PushacockraiIstick through.the body
leaving 12mm(Illin) protruding to
attach the head. Roll out two small
sausagesforthe armsand mould into
shape. Attach. to the body at the
shoulderand st ickon the h.ands.
Finishing
Makean elongated pear shape and
hollowout until it is largeenough to fit
onto the head. Leavepoint ing upwards
or bend asdesired. Stick the cap onto
the head and attach the head to the
-body. Stick the nose in place. Makea
small triangle and elongate forthe
beard. Pipewhite icing for the eves and
brush white icingOnto the beard. Paine
in features when the Icing has dried.
Stick belt around the waist and pipe In
the buckle.
INGREDIENTS
125g(4oz) marzipan
Foodcolouring
Royal icing
Cocktail stick
Girl
Head and Body
Dust the plaster head moulds wirh a
little cornflour (cornstarch) and press
flesh-coloured marzipan into each half,
trim any surplus marzipan level with the
mould. Unmould andstick the two
halvestogether with a little egg white,
smooth the join with thumbs. With
about seven-eighths of the remaining
flesh-coloured marzipan, mouldinto"
bodyshape emphasizing the waist.
Insert dowel through the centre of the
mouldedpiece.
Skirt
Roll the bluemarzipanthinly and cur
out a Circle, rhe radius shouldequal the
bodylength trom the waist to the base.
Cut a hole in the centre of the skirt and
position securing around the waist wit b
egg white . Arrange th e
43
Arms
Foldthe wirepieces in half and twist all
strands together. Cut offtwo lengths for
the armsin proportion to the Ixxly.
Make two sausages (romthe remaining
flesh-coloured marzipanand mould
around the wireleavingabout6mm
(lAin) exposedat one end, bend Into
shape. Flatten the other end for the
handsand score the fingers wi rh a
knife. For the sleeves, roll twopiecesof
red marzipan into flngernail-sce balls.
Flattenslightly, makefour indentations
in the roundededgesand attach to the
surplus wireon the arms, Pipe white
royal icinginto the indentations.
Hair
Divide the black marzipan in half Roll
one half into a baII, hollowour wi th the
thumbsto form a cap largeenough to fit
over the head for the half. Elongate the
backof the hair and stick into position.
Marka paning with a krufe. Roll oura
tiny pieceof redforthe ribbonand bow
and attach .
Bodice
Roll out a rectanglewith the remaining
black paste, the width should be half
the circumference of the bust and the
length shouldbe rwi ce the length from
the neck to the waist. Cut a hole for the
neck section and fash iO[l rhe front into
a Vshape. Ease over the body and
smooth the side JOIns. Attach sleeves,
armsand head. Paint in(ace.
INGREDIENTS
16Sg (5
1
/ 202) marzipan
Royal icing
Egg white
Foodcolouring
Colour marzipan as follows;
90g (302) marzipan flesh colour
45g(1I/ w2) blue
15g (1/202) black
15g (l/20Z) red
EQUIPMENT
13em(Sin) pieceofdowel
Plasterface mould
2 piecesof 24-gauge covered wire
No 00 paintbrush
Small rolling pin
Sharp knife
44
LESSON 4
Pastillage
& Sugar
Miniatures

moulds are readily available

and will produce competent figures but
Figure
the poses and sizes available are restricted.
Far more original and lifelike results can be
attained by building up the figure freely with
the use of an armature (wire support).
Modelling
lf the Iigureor animal is to be dressed,
the body itself can be a fair!yrough
shape as it will be hidden and the
areas that will be visible such as the
arms and head can be modelled in
greater detai I. One important point
to remember is tha t the addit ion of
clothes will en large the figure so that
the body needs to be thinner and
needs to be thoroughly dry before
clothing isadded otherwise crack ing
will occur.
Proportions are very important
when modelling human figures. The
head shouIdmeasure one -sixth of the
bodysize. When modelling a child,
this proportion isdifferent. The head
ismuch larger and wi II roughly
measure a quarter of the bodysize.
When the arms are held at the side of
the body, the fingers should reach
mid-thigh. Many people tend to
make the anus far too short and th is
willspoiI the balance of the figureo
Ask someone to pose if possible so
that a natural position can be
achieved.
The Face
This is the most important area as it
tends to be the focal point of the
figure and the whole effect can be
spoiled if, for instance, a flower fairy,
Goldilocks or baby has a cracked or
lined face with a crooked nose. A
mould can be made from plaster using
a doll's head cut in half. The head
then can be formed by pushing a small
bat! of paste into the mould so that
the features are formed on one side
and the back part of the ball forms the
back of the head .
When painting on the features , the
eyes should focus on an area wi th in
the modelled scene, so that they don 't
appear vacant or staring. Paint the iris
(the coloured area of the eye). When
dry, pai nt the black pllpiI and again,
when dry, high Iight with a dot of
white. This should bring some life to
the eyes. Blush the cheeks with
dusting powder , lightly add freckles,
ifdesired, with minute dots of paprika
paste colour. Paint lips also wirh
paprika, not bright red or bright pink .
Hair can be piped with royal icingor
it can be made by pushin g soft paste
through a garlic pressor a potter's clay
gun. It could also be rolled with the
fingers in to fine strands. It can be
applied to form tight curlsor, by using
the gun , plaits or ringlets .
Modelling Animals
When mode II ing ani mals, try to
work from photographs, reaI lifeor
illustrations so that the pose iscorrect
and most important. the colour and
markings of the fur and formationof
paws and features are correct and a
realistic likeness isachiever], The
bodyshape and pose are important if
it is to bear any resemblance to that
particular creature even i( an ani mal
is to be dressed or isa fantasy animal.
Cards, Caskets and Moulded
Decorations
Again, mou Idscan be used to produce
bells, caskets, slippersand anyother
basic shape, but u is (ar more
rewarding to produce something that
is truly original. Look for more
unusual moulds, for example a flower
pot, doll' s shoes, aspic dishes,
Templatescan be cut and made for
cards, casket sand houses for a more
personal result .
Paste
Fur the rough bodyshapes or anything
that will be hidden with royal icingor
clothes, use gelatine paste. For finer
derail ed work. clothes, faces, hands,
for instance, use fine flower paste or
modelling paste.
Breakages
It isadvisable to make spares ifany
item is particularly fragile, for
example cards and caskets, in caseof
breakages because of time involved in
the drying process.
Use of Wire and Plaster Mou Ids
A warning must be given ifwire,
plaster moulds or cockra iIsticks have
been used to support the modelling in
case it iseaten bya child .
Pastilla
It is im
campi
with ccx
some pi
shape 0
be dried
transfe r.
shapes H
could df
the card
knife.
moverns
this will
Cutinfn
the com
pieces s
will not
Heart-sf
Cutoutc
biscuit
shape fro
shape in
place on
with fing,
give a pac
monograi
heart. PiI
around
and also r
46
Pastillage
h
Cards
Pastillage Cards
It is important to dry the pieces on a
completely flat surface, lightly dusted
with cornflour (cornstarch) . Roll
some paste ou t t hin ly. Cut the card
shape on the surface on which it is to
bedried. Do not attempt to lift and
transfer the piece after any cutout
shapeshave been removed, as this
could distort the overall shape. Cut
the card shape with a very sharp
knife. Use a single rocking
movement, do not drag the knife as
this will stretch and distort the paste.
Cut in from the comers, not out to
the comers. When dryi ng tum the
pieces so that they will dryflat and
will not warp.
Heart-shaped Card
Cut out card pieces as above. Use a
biscuit cutter to remove the heart
shape from the front card. Cut a heart
shape in paste, medium thickness,
place on inside (ace. Smooth the edge
with fingers and modelling tool to
give a padded effect. Paint a
monogram on the inside of the raised
heart. Pipe an edge with royal icing
around the padded heart on the inside
and also round the cutout heart edge.
"
~ /
j.
1/
:
47
48
Confirmation Card
Cu t au t wi nd ow o n fran r face. Form
base of candlestick by curri ng our
shape qui te thi ckl y and indenting
with a modelling tool and rounding
edges to give a th ree di me nsio nal
look. Build up the top of the
ca ndlestick and make an indentation
large enough for th e candle to be
placed in side. Make t wo t hi n sausage
shapes, tapering at on e end for the
ca nd le, insert black stamen cotton tor
wick . Support wi th foam unt ilset so
th at th e cand le will stand away from
the ca rd .
C ut ou t ch rysanthe mum leaves.
Place around edge of book area. Cut
our the cover of the book and 'jndent
the spine. Place on a thick rectang le
of sugarpaste for pagesof book . Round
th e ed ges at t he ce n tre of th e book.
C ut au t a sing le page from a th i n piece
of paste . Turn up edges and SUppOTt
wu h the fine slivers of foa rn unti l dry.
A dd writ ing wi th NoOObrush. Dust
th e surface of the pages with cream
pow der and gold sparkle. Add
ch rysanthemums. Position a thin
piece of paste for t he ribbon
bookmark.
On the inside face. paint the
church window using pas te co lours.
Use clear, pastel co lo urs. W rite the
verse wit h a fine , non-to xic pen.
To A ssemble C ards
Pipe a soa iisrrai l along inside edge of
inner card. Place the two cards
together . Sup port until dr y. Pipe
anot her decor at ive edging on spine of
th e card to strengthen .
N
N
t
R
t
d
S
t
tI
IT.
S[
1);
ir
Bramble
Mice
Mother Mouse
Makea rough shape for the body using
gelatine paste. Allow to dry
thoroughly. Colour flower paste blue.
Rollout paste quite finely. Using the
pattern, cut out the bodice and attach
to body. Cut au t the skirt. f old and
drape pleats, mostly at the back of.the
skirt and place around the body. Place
the seams at the front of the figure so
thaI they wi II be hidden by the apron.
Makea bustle from a thick piece of
paste. Place at the back of the figure
and attach to the skirt.
Head
MakeasmaII cone, mden t eyes,
nostrils and mouth, paint in facial
markings. Make mop cap byroll ing a
small ball of paste, indent with large
ball tool, pinch edge around
indentation and place on the mouse's
head. Make ears with pinky grey
paste, first make a smaII baII, fl atten
and indent with a ball tool. Pinch
together the base of the ear and attach
to 'the hat . Use a cocktai Ist ick and
fri II a long na rrow piece of paste and
attach to the edge of the cap. Roll two
sma11 balls of black paste and place
into eye sockets. Texture the surface
of the paste with a scalpel to look like
fur. Cut out apron skirt and frlll edge,
appl y to dress. Cu t out apron bib,
attach to body (try to hide the waist
seam) . Make two ribbon ties and a
bow, attach to back of apron . Paint a
pattern on t he dress with a fine
paintbrush.
Arms
Make a long sausageshape in pinky
grey colour paste. Flatten one end to
form a spade shape. Cut four long,
thin fingers. Pinch and round ends of
fingers. Place paw on foam and indent
with a ball tool to curl fingers. Thin
out the wrist, shape arm. Place in a
curved position and leave (Q dry.
When dry, wrap the sleeve paste
around the arm. Attach to the body
with royal icing, support until dry.
The Egg Cradle
Ro II au t a piece of paste of mediurn
th ickness, dust a smaII eggwith
com flour (cornstarch). Drape the
paste over I he egg. Smooth the paste
carefully downwards so that the paste
fallows the sha pe of the egg. Cu t I he
jagged points with a scalpel, remove
paste from the egg and lightly smooth
edges. Replace paste onto the egg
un t it dry. When dry. place a
sugarpaste mattress inside the eggso
that the baby mouse wiII be upwards
49
50
when placed inside and becomemore
visible. Make a pillowout ofa roughly
squa re piece of sugarpas re. Pinch the
comers to give a narural look, Frilla
thin , narrowpiece of flower-paste to
form lace edging. Make a small head
as for mo th er mouse. Make a rough
conical shape for the body(rom
sugarpasre. Roll our a thin piece of
paste (or blanket. Fold and tuck in the
edges. When dry, dust yellowand
paine o n a !lowered pattern with a fi ne
brush. Dust egg blue, add on brown
markings with a fairlydrypaintbrush
using brown paste colour .
Prepare plaque bycolouringgelatine
crystals with green dusting colour.
Cover area with gumarabic oregg
white, sprinkle on crystals. Tip away
excess. Make blackberry leaves, (see
page 219) .arrange in " spray. Attachto
the plaque with royal icingalongwith
the eggand mother mouse.
Head
Make babl
hallof ski ~
plaster rnr]
small doll '
the impre:
stick to JI")
Body
Make a la
sligh tIy bal
abdomen.
back and
Make an if
tool where
be placed.
Hands and
Tap one er
to form a SI
'V' (or the
Separate e
round tips.
and curve
Baby Wrapped
in Quilt
Head
Makebaby's head by pushing a large
ballof skin-coloured paste into a
plaster mould (made (rom cuttinga
smalldoll's head in half and making
the impression). Place on a cocktail
stick to dry.
Body
Makea large con e, bend the cone
slightly backwards and exaggerat e
abdomen. Creme a curve between the
backand bottom using forefinger.
Make an indentation with a large ball
tool where head, arms and legsare to
beplaced.
Hands and Arms
Tap one end of a sausage and [latten
to(arm a spade shape. ellt alit a smaI)
'V' for the thumb then cut fingers.
Separate each finger, smooth and
round tips. Place on to a piece of foam
and curve fingers bvdrawing a ball
tool ove r them towards the palm,
indent palm with ball tool. Form
wrist , elbowand upper arm by rolling
paste with fif\gers. Place in a natural
pose to dry.
Legs
Taper one end ofa sausage and flatt e n
to form a spade shape as for arms.
Make 4 cut s (or toes, round ends.
POnTI heel and ankle using thumb and
forefinger. Sh ape knee and thigh.
I ndent bottomof foot to crea te arch .
Place in a natural positi on and dry.
To Assemble
Attach head {O body, and legs to
torso. Make a napp y by rolling a piece
of white paste co medium thickness
and wrap around body. Texture
nappy by pinching paste with fine
pointed tweezers to create a
towelling-like effect. Attach arms.
51
Pipe on hair using royal icing. Paint
facial features and dust cheeks.
Quilt
Position babyon a tissue paper
template and practise wrapping baby
in tissue until sat isfied with folds.
shape and lay the quilt so that when
the baby is wrapped in the actual
paste it can be handled as little as
possible as over handling and re
wrapping will cause the paste to crack
and tear. When sat isfied, rna rkon
templ ate the position of the baby's
bottom. When the quilt iscompler el y
dry, paint in the patchwork pattern
with a fine brush using clear paste
colours. If working with more than
one colour on each pattern, allow
each colour to dry thoroughly or
streaking will occur. Keep the brush
as dry as possible, over-wetting of the
paste wiIJ cause it to disintegrate.
'
Koala
inTree
Make a wire support for the tree using
heavy-gauge wire. Make two circular
bases, wrap together with a finer
gauge wire, twist wire together to
form a trunk. Divide into a fork
shape. Add finer-gauge wire near the
top of the tree for smaller branches.
Colour gelatine paste brown. Build up
the trunk with pieces of paste pushed
into the wire, becoming thinner
where the branches fork, leave to dry.
Pipe royal icing over the shape and
brush with adry brush to create a
textured finish.
Koala
Make a greyish brown-coloured paste.
Make a conical shape for the bod y.
Tilt to one side slightly. Make a round
shape for the face. Pinc h out the nose
until it protrudes, pinch together
sl ightl y to narrow. The face tends to
be fairly flat and the eyes are quite far
apart and quite small. indent eyes
with a small modelling tool. Make
ears as for mouse but attach sideways
into the head.
A ttach head to the fron t of the
cone, not the top. Smooth edges
together with a modelling tool. Fix to
tree at this stage with royal icing
while the koala is still fairly moveable
so that the branch indents the fron t of
the koala and it fits snugly into the
fork of the tree. lt wi II then appear to
be clingtng to the tree and [lot simply
placed on it.
Arms and Legs
The thumb on the paw is fairly high
up so make the (irst cut higher than
usual. Make three further cuts for the
at her four digits. The wri st and arm
are quite thick so only shape the wrist
52
Sl
Hcad ai
Make a
Indent
Make a
body.C
for legs
Insert a
body tc
Insert 1
ankle,
Clothe
Make a
Thinly
the pat
with la
edges.
skirtw
body .]
the fig'
the api
to hide
apron
over tr
at the
frond
body.
bottor
neck f
armsf
Wher
Cut a'
the to
slightly. Repeat for the back legs but
Boot!
leave larger pieces of paste for the
Usins
haunches, Attach limbs to koala so
shape
that it appears to be clinging to the
botto
tree itself.
moul
Texture fur with royal icing and a
push
dry brush. Make some eucalyptus
leaves and attach to hand. Pipe in
Tail
black eyes, glaze nose and when dry,
With
glaze eyes.
tail. I
plan:
shou
thick
to an
end,
Skunk
Head and Body
Make a cone shape, upti It snout .
Jnden r eyes wi th a srna11 baII tool.
Make a large flattened sausage for the
body. Cut a large insertion and di vide
for legs. Smooth and round each leg.
Insert a long wooden skewer into
body to support it while dressing.
Insert half a cocktall stick into each
ankle, allow codry thoroughly.
Clothes
Make a norma I fri II for each ank le.
Thinly roll our pink paste and using
the pattern, cu taut the ski rt , smooth
with large ball tool and thin all cut
edges. Slightly frill bottom hem of
skirt with ball tooI. Wrap around the
body. Place the seam at the fran r of
the figure where ir will be hidden by
rhe apron. Smoothseam with. finger
to hide io i n as much as possi ble. Cue
apron skirt in white paste and attach
over the pink skirt with the opening
at the back of the figure. Cut back and
front bodice shapes and attach co the
body. Indent with NoI cube and pipe
bottom edge of bodice and around
neckfor a fine lace effect . Make two
armsfrom black paste as for mouse.
When dry, wrap sleeve around arm.
Cut away excess paste on the inside at
thetop of the arm.
Boots
Using black paste, make a sausage
shape, bend for the ankle. Flatten
bottom of boor. form a heel by
moulding with forefinger. Glue and
pushonto cocktail st ick.
Tail
With while gelatine paste, make a
tail. Roll a sausage long enough to
place up inside the skirr. One end
shouIdbe{airly narrow, it shou Idbe
thicker in the middle with a thick end
to attach to t he body. Support each
end with foam to lift while drving.
53
Teddy
Cl

Birthday Plaque
to
Makerounded cone shape (or bodyand
insert cocktail stickswhere head, arms
and legs will be positioned. Texture
body bypinching the paste with fine
pointed tweezers. Make the head quite
largein proportion to the restof the
body. Make a tall pinch one sideo( the
ball to form snour, indent eyeswith ball
tool. Make earsas(or mouse, and .
attach to head, texture as before.
Legsand Arms
Makea largecone foreach arm, pull
out pointed end and flatten to form
paw. Shape wrist byrollingfingers,
textureand place in a curved positionto
dry. Foreach leg, makea largecone,
flatten and pullout as (orarmto form
foot, bend at cheknee and leavea large
piece of paste for haunch ; texture.
Nate: place both arrnsand legs ontO
body beforedrying so that the
cocktail sticks inserted into torsowill
(arma hole in the limbs. Support with
foamwhen drying then attach to body
with royal icing. Attach head.
Honey Pot
Make a flattened barre1shape. Roll a
fj ne sausage. Joinends to form a ring.
Placeon top of barrel. Make a label
fromfinelyrolledwhite pastecut into a
rectangle whet1 dry, paint in 'HONEY'.
Wrapping Paper
Roll au t a pieceof blue pastequite
finely. Roll out a piece of white paste to
the same t!;1 ickness. Placeone pieceof
pasteover the other and roll together to
(amIone pieceof paste. Cut somesmall
shapes usinga plunger cutter and place
on blue paste, these couldbe illa
conrrasringcolour. Roll again to form
one pieceof paste. Cut into a square
shape, roll upand liftor bend down
comers to give a natural effect, support
until dry. Make a small birthdaycard by
ToA
Make
cutting a rectangularshape in whire
Place
paste, fold in half and leave to dry.
Paint message insideand designOn
Place
hone
front of card.
cons:
oftltt
Bee
tcddl
Make twoballsof pasteone yellowand
one black. 51 iceeach ball into sections.
Reassemble to form H ball of alternative
colours. Make a ball for the head, insert C ~
two stamens (Of<mtennae. Roll black
Spr i
paste nnely into strands, bend to form
l\.hl
legs. When dry, attach to bodywt rh
royal icing.
g,llil
rem
Pus:
Wings
Usea small rosepetal cutter. Cut two
spri
wings, dry. Paint veins;dust with gold
sparkle. Wings can either beattached
to the bodywith royal ieingwhen both
are dryor the dry wings can be inserted
into the bodvwhiIethe paste issri11 safe
54
Clownjack
in-the-box
ToAssemble
Milke ribbons and place into plaque.
Place wrapping paper On top ofribbons.
Place honey jar on paper. Fill por with
honey-coloured icing made to runour
consistency, allow to drip down the side
ofthe jar and onto the paper. Position
teddy, beeand card.
Spring
Make a spring bywrappinga heavy
gauge wirearound a round pencil.
remove and screw into bodyshape.
Push a perspex tube up through the
spring and push Into the body, dry.
Face
Makea ball ol skin-coloured paste. Roll
to form neck, roll and push finger into
paste to fonn a chin,
Cutout two white ovals for the eyes
and curved half moon for the mouth.
Indent wirh a ball tool for nose. Paint
on features with black and redpaint ,
adda Ted ballof paste to nose
indentation. Glaze nosewith gum
arabic glue or confectioner's glare.
Cloches
Make <I fairly rough body. Using pattern
cut out T, shirt, Placeon the body,
create creasesand foldsin the paste.
When dry, paint on the stripes. Cur a
longstripof redpaste, wraparound the
waist area for the trousers. To create a
baggy effect, pull d O \ ~ 1 1 and stretch edge
with fingerand thumb. Cut TWO thin
strips(or braces. Make TWobuttons by
rollmg twosmall ballsof cream paste,
flatten and indent a circle with a large
icing tube, make two holes to create a
shank with a largeneedle.
Cut out jacket-fronrs. Smooth cut
5S
[
edgewith a largeball tool. Shape
bottom edge to create <l na(ural effect.
Cut out backof jacket and glue in
place. Cut rwolapels. Ball toslightly
hill cut edge. Rolland fonn lapels,
again to create a natural effect.
Heads and Arms
Make a longsausage (or the [Inn, bend
and leave to dry. To make a wrist
shape, make a cone ofskin-coloured
paste, push ,I cocktai Istick into the
pasteand taper the end; leavetodrv,
Push the wrist shape into the arm, leave
to drv,
I
I
~
56
Glove
Makea hand as (orthe baby. Extend
(he wrist to push a piece ofdowell ing
the end of (he glove and open upthe
paste. Cut a V section from thecuff.
Roll edge to thin, pushonto wrist
shape. Beforecovering the armwith a
sleeve, decide on the positionofthe
armsso thar (he sleeve seam isplaced
where it willbe less visible. eitheron
underside or inside the arm. Paint the
check pattern on the jacket. Make hair
bypushingsomesoft paste through a
claygun or a garlic press, attachto
head.
Bow Tie
Roll out somegreen paste, makesmall
ballsof redpasteand push theseinto
green paste, re-roll paste and cut out
the shape usingthe pattern. Pull thetie
ends towards the middle and glue.
\XI rap a small strip of paste "round
centre of bow. Glue in placeat the
neck.
Box
Roll out pale yellowpaste to medium
thickness, usingtemplate CuI five
squares. When dry. paint adesign.
letterer number On each square. If
numbers are chosen, the ageof the
child could beon the front of (hebox.
To Assemble
Pipe royal icing on edges ofsquare, butt
edges together. Support until dry.
Assemble three sides. Pushclownon
perspex rod into cake. Placethree box
sidesaround down, attach fourth side
and lid. Makebeach ball fromgelatine
paste and paint when dry. Makea small
rag dollor teddy, propagainst ball.
Attach ribbons to cake incoloursto
matchclown.
57
Trousers
Bow Tie -em(Inc
Cu rone
GO
Fare
~
Sleet'e- CIIl IWO
I
Vt?SI - Cut one
JackelFnml
Jack.:! l Back - CHI Cl11e
-Cut tw(J
L------- - ------ ---LIPd_ClIt I WO
\
I
\
(
Jack ill che !:lox
58
Bramhle
Dress Bodice - CUI one
Apron Wb- Cw one
A/lyon Skin - C ut one
A/lyon Bow - CUI one
Skew - C ut ttvo
Shin-Cw one
59
Skirt-Curone
OverPmny-Cur one
Sleeve-Cut WiO
Over Pinny Top-Cut two
\
J
I
/
/
-:
.,/'
Q uilt Pattern
Place baby on dolted area
./
/
/
I
I
\
\
60
LESSON 5
Tube Embroidery
& Broderie
Anglaise
/
I
.
i
Iced
Embroidery
E
mbroidery designs of all kinds are very
easily adapted for use as cake decorations.
This involves piping the individual 'stitches'
with a fine icing tube using fairly soft icing.
Embroidery refers to both large
complexdesigns using several colours
and also to the fine lacyembroidery
moti fscommon Iy used for side
decorati on which are generallypiped
in one colour. Thi s method allows the
decorator endl ess scope as it can be
effectively used for a variety of designs
including svrnrnetricaI patterns,
floraL figures, crests and lettering.
Once you have practi sed the
. sti tches, any embroidery pattern can
be used as a guide. Fabrics, wall
coverings and even some china will
give many lovely designs which may
inspire you to create patterns.
Before start inga design, mix up all
the colours and shades of icing which
you wiII be needing. Put a srnaII
amount of aII the colours in piping
bags with a No 0 tube. Use small bags
and do not more than half fill them,
th isallowsyou more freedom of
moveme nt and is more accurate as
you will be working closer to the
design .
Start working the design beginning
with the background , working
towards the front. Compl ete one
section at a time. changing the shade
where necessary before start ing
another pan of the design. For
62
Ma
De
Pricki:
Trace
Place
carcfil
L\l!\
will h
teaturl
~ l l ' s i g n
is not
Pend
Theu
overtl
witha
pastel
sllr6c
over r
lines
110tu'
diffic
Small
whicl
sides(
large '
effect
NoO(
desigr
rhisw
UI1 i for
some!
shoulc
icing i
pressi
pen.F
well b
flow e
example, a petal may be pale at the lip pressu
darkenin g towards the base,
therefore, the pale tip should be piped
first. While th is isstill wet, changeto
Em
adarker colour and carryon pipingall
in one operation. This will produce a 1. Loll
smooth result and the shades will Isusee
blend well. A fine, slightly damp arran
brushshould be drawn thr ough the create
st itches if they look une ven and any ourlin
Iinle peaksshould be flattened while stitche
still wet . If some parts need special the sti
emph asis. they may be built up last ro
slightly by usingextra pressureo ofl ul1J
The d
the lir
IS.
S'
Marking out the
Design
Pricking
Tmerthedesign onto tracingpaper.
Pl:lCt'rhisonthecakeor plaque and
carefullyprick rheoutline with <l pin.
1),1 notmark toomany details as thi s
will be contiIsingandthesesmall
easilybecopied when the
ISalmost fini shed. Tl)is method
i,not i(Irhardsurfaces.
Pencil Tracing
TIleusual methodof tracing IS to tum
over rhede:iign, re-draw on the back
with. sugarcrait pen, orwith nun-toxic
fl1S1d pencil, place this side on the
turf,lce tohe decoratedand traceagain
ovcrrheoutlme. This leaves the fine
on the surface. Do
Ili ltlLo,('VCl)' ht:""1, !inesas these willbe
Jifficult toconceal andcould smudge.
piecesoioutline embroidery.
whichall: mainlyusedto oecorate tbe
sides oi acake or scattereGamum\ 0\
decorauon to give a softening
t trt'Cl an: usuallydone freehand with a
NoOor00Tube. The focal pointsof the
th ign mal' beprickedout wi rh a pin,
will ensure that the side motifslook
uniform even though there may be
!olllcslightvariations . The icing nozzle
should gentlyscrape the surface as the
ic ingis squeezedout using an even
pressure andshould be held rather likea
pen. Fresh soft icingwhich has been
well beatenshould beused. thisshould
floweasily without needing too much
pressure.
Embroidery Stitches
I.Long and Short Stitch
ISILSCd tOflll a largeshape with an
arrangement ofstitches blended to
createasrnooth surface. Pipe a fine
outline. First row.rnake longand short
stitches. Second and successive rows,
thcstitchesare all the same length. The
last rows needtidying upsoanother row
d longand short will fiII the spaces left.
Thedirection of stitches should follow
rhe linesofthe design.
2. Satin Stitch
These are straight stitches, worked
Together to forma bandor shape and
are used forsmall or narrowshapes.
3. Fishbone Stitch
Made up of lines piped diagonally
towards the centre and repeated the
other side in reverse direction. Useful
(orlea yes or feathers,
4. Couching
One or more threadsare laiddown and
stitched into position. This can be used
where a very bold outline is requ ired.
Thisstitch isused byembroide rers
when theyare using metallic thr eads
likegoldor silver and wouldbe
appropriate in orientaIdesigns.
5. Feather Stitch
Pipe a Ushape with the next one
start ing below and CO the centre of the
first stitch.
6. Chain Stitch
A rowof chains makesan interesting
outline and can be usedfor stems. A
long chain stitch workedsinglyis
63
known as a lazy-daisyst itch and is used
forsmall flower petals.
7. Herringbone Stitch
A series of diagonal linesoverlapping at
the top and the base.
8. Fern Stitch
A simple arrangement of three stitches
worked at angl es to each ocher. Useful
forgrosses or leaf veins.
9. Running Stitch
Shott straight stitches with a gap
between th em. Usefulfor outliningor
for filling shapes when a very light effect
is required.
10. Star Stitch
Straight stitches radiating from a
central point.
11. Stem Stitch
Used forstemsand outlines.
12. Cross Stitch
The traditional stitch (orsamplers.
Used for outlines. fillings and borders,
13. Erench Knots
Pipea tiny bulbof icing. Usedfor
stamens or decorative (i I! ings.
Tube
Embroidery
64
1
Outline or the design is
embossed onto t he soft
4. ... -
sugarpaste.
petals
Hard
Pansu
2
Stems and leaves which lie
behind the flower are
completed. Leaves in chain st itch and
sterns in st em stitch.
3
First part of the petal
completed with long and short
stitches using pale pink.
_J
'\d
rt
I I
4
Centreof the petal completed in darker colour Design iscompleted byadding the petals which
5 andblended at the change-over point. Complete appear to be in front. The centre is piped in black
petals at thehack first. sann stitcb and stamens around the edge are French
Knots .
"'.
I
I
I
L... -1
Harebell sworked in longand shari stitch. Crewel work lilies.
Pansiesworked in long and short stitch. Crewel work floral plaque.
65
T
his is also known as eyelet, Madeira or
Swiss work. Designs usually consist of
Broderie
simple floral motifs as the round and oval
holes lend themselves so well to floral
formations. Work on fresh soft sugarpaste.
Anglaise
66
Prick out focal points with a pin.
Take care when pric king designs not
to Jean hand on the surface of the
paste as this will spoil a good finish.
Round holes are made by holding a
paintbrush handle or knitting needle
(pin) at right an gles to the cake and
pressing gently into the paste.
Oval holes are made by holding the
same tool at 45, this will make an
elongated hole. Pipe around all holes
with a No 0 tube. To give a perfectly
round circle, outline half the hole ina
clockwise direction then pipe the
other haIf in reverse direc t ion.
Neaten the take-off point with a
damp brush if necessary. Traditional
broderie angla ise has a seaIlopededge
which is sewn with buttonhole stitch.
This effect can be achieved bypiping
a small open zig-zag.
1.
2.
3.
If
e.
not
.h,
~ a
edle
nd
gthc
n
roles
::rly
e ina
mal
Designprickedout through the
edge
1. pattern witha pin.
itch.
ping
2.
Holes are made with
paintbrush handle .
3.
AII holesare out! ined with
aNo0 icing tube.
67
.
.
. , ,
..
'
.
,"
,..
,
' .
,
.
.
.
...
.
,
\ . ~ .
..
.'
'."
.
"

68
4.
Fine lines and dots are piped in
CO complete patt ern .
5.
Edgeis worked in a zig-zag to
represent butto nhole stitch.
t
Coat
colou
temp
foldir
about
of the
Ro
thinh
carefi
mai n
parte
shou
is pia
easie
suga i
c
Lazy Daisy
Cake
Coat a 28cm(11in) round board wirh
col oured sugarpaste. Cut a scalloped
template from a 28cm (11in) circle by
foldingint o 16sections and cutt ing
about lcm (lfzin) awayfromthe edge
ofthe patternTOforma curve.
Rollout whitesugarpaste quite
thinly. Cutscallopedshape and
carefully lift onto the board. Mark the
main holes for broderie anglaise using
pattern as a guide. This process
should becompleted before the cake
is placed on the board as it wiII be
easier tomake the holes.
Cover the cake with coloured
sngarpaste. Gent!y lift into the cen tre
of the board and secure with icing.
Make a small scalloped shape for the
top using same method as before, the
finished shape should be about 2. Scm
( 1in) sma lIer than the diameter of the
cakeand should also have 16seallops.
Mark out the patrem and make the
main holes. Bypressing right through
to the coloured paste, the deeper
colour will show through enough to
make a better contrast. Care should
be taken not to press into the cake
irseIf as th iswiII cause a dark stain to
gradua IIy seep through to the surface.
Outline all the holes on the board
and the top of the cake and pipe in
69
fine embroidery. Edgestitch seaIlops
using zig-zag lines. Make a template
for side decoration. using a strip of
paper to i r the side of the cake. Cut
shape from the guide. Attach to the
cake and mark out the pattern. With
cake tilled away from you, pipe the
curved lines. Pipc daisydecorat ion.
Pipe snailsrrai Iaround the baseof the
cake. Attach bands of ribbon around
base and makesmall bowsusing two
colours of ribbon together. Add top
decoration offlowers or an omament
to suit the occasion.
o

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71
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Tube EmlJroidery
Templatesfordesil,'7l.\ 1Isedin this leSSO ll
Tube Embroidery
LESSON 6
Brush
Embroidery
,.
T
his is a versatile technique whereby the
decorator can produce attractive designs
Brush quite simply and quickly. If a little more time
is taken for highlighting and shading the
design, the same method can be employed to
create a beautiful, delicate finish.
Embroidery
o
ef1
pa
wi
th
m
gl:
sO
of
wi
nc
a(.
T1
in
d ~
."
tr:
th
F
TI
pc
w<
lir
ve
pa
a
p
no
s i ~
su
tH
d
sil
a[
t F
B.
11
dl
0:
51
H
,.
A white design on a white
background which would be most
suitable (or a wedding cake makes a
very elegant decoration and brush
embroidery would be a good
technique (or reproducing the design
of the bridal lace. Although the
pattern is not very clear! ydefned it
will show up quite well by contrast of
light and shade.
A more dramatic effect will be
achieved by piping a white design on
a dark background, or a dark brown
design on a cream background. In this
case the pattern isdefined by varying
the densi ty of the ic ing and brushi ng
76
in the direction of the natural veining
of petals and leaves. However. the
most beautiful designs are those in
wh ich severa I cornplementary colours
are used and delicately highlighted
with diluted food colouring after the
icing has completely dried.
II
the
igns
time
d to
eining
the
=in
.olours
ned
.r the
Transfer
ofDesign
Onsoft, sugarpasre it isbest ro
emb thedesignbyplacingthe
pattern undera pieceofperspexor glass
wh lCh shoulJbe larger than the rop of
the cakesothat thesurface will not be
markedby theedge of the perspcx. If
glass isused it should be boundwith
srrung tape toprevent cuts.
Outline thedesignbypipingon tOP
uf the perspex withaNo0or I tube and
wlureicing made without glycerine. Do
notpipeinsmall detailsas thesecan be
addcJ later. Allowto drythoroughly,
This method will producea reverse
imageandifthis is undesirable, the
dL'Si gn should be turnedoverand re
traced on thebackbefore placingunder
rheperspex.
Pencil Transfer
TIlis rnerhod, which seems to be
popular, shouldbe verycarefully
worked, asa mistakewiII resultina dark
linein thewrongplacewhichmaybe
verv dilficult to conceal.
Trace over the pattern with tracing
paperanda mediumhard pencil to give
aclear, sharp line. Tumover tracing
raper andre-tracethe pattern with a
non-toxic pencil or pastel. Placethis
side onthecake andusinga smooth rip
suchas aball point, lightly traceon to
the cake.
This method isuseful where the
deszn ofthe tOP continuesover the
The icingshould be
allowed to harden for a few daysbefore
tracingtoavoid making pit marks.
Pricking
TIl isisonlysuitable forverysimple
designsor freehand workwhere it is
onlynecessaryto markpositionsof
smalldecorations, asthe result may nor
be clearlyenoughdefined foraccuracy.
It is nota very successful method for use
onhardicing.
Materials
ANo I rube isusedformost designsbut
where theworkisverysmall and a large
build-up oficingisundesirable, a No 0
should beused. Choose a goodquaIity
sablebrush as this will be firmand
springyand willgive better results than
a cheap bnlsh with weak bristles. Use a
NoZor 3for brushing the icing and
highlighting and a 2/0 or 3/0 for adding
finedetail.
Use fairly soft, fresh royal icingor, if
you need longer co workon the design
beforeit driesout, add about one
teaspoon ofclear piping gel to every
fourtablespoonsof icing. The ge Iis
seldom necessary, so try working
without it and then compare the results
when the gel isadded.
Working Brush
Embroidery
\Then preparingto start a multi
coloureddesign, fillseveral small icing
bagscontaining a No 0or I rube with
all of the coloursyou intend to use. k
this entai Isusinga lot of expensive
tubes youcan try usinga finn bag
without a tube and carefullysnipping
offthe end of the bag after fillingit to
form a tiny hole about the size of aNo 1
tube. The bag must be changed assoon
as the hole becomesdistorted. Keep
yourcoloursquite pale as they can be
emphasisedwhere necessaryby
touching upwhen the workisfinished.
Work fromthe outside of the design
towardsthe centre, dealingwith the
backgroundfirst and workingon only
one smallsection at a time. The
backgroundshould be light and delicate
so that it will not over-power the detail
in the foreground.
The paintbrush should be damp. If it
istoo drythe icingwill become rough
and uneven. If it is too wet it will make
a puddlewhichwillspoi Ithe surfaceof
the cake. The brushshould be held at
an angle of 45
0
and longstrokesshould
be usedwhich start at the edgeof the
petal or leafand continue to the base to
avoid ridges.
Pipe a Iinearound a leaf in the
background men, before the icing
dries, quickly pipeanother line within.
Using longsmooth strokes, brushthe
icingthrough both lines towardsthe
base, leaving more icingat the edgeof
77
the leafand fadingawayto a thi 0 fi1m at
the base. Where the leaf isserrated. it is
moresatisfactoryto pipe a small blobof
ici ng at each point within the outline
insteadof a continuous line. Take care
to conceal transfer lines with your
outline and to brush the icing in the
direction of the natural veining on
petalsand leaves.
As youare brushingfromthe
background towards the front, a little
icing may be inadvertently brushed on
to the area immediate!y in front of the
part on which youare working. This is
not important ifit isonl ya light f 1m of
icing, as rhiswiII be covered when that
section isoutlined and brushed.
The flowers in a design are usually in
front of the leavesnod the back petals
should bedone firstso that the front
petalswill be emphasised. The furled
edgesofa flowershould be left until last
and completed bypiping a heavy line
all around it and infillingwith icing.
Light brushing with adamp brushwill
smooth the area. Finallypipe in any
stamens. Leafveins can be defined by
either brushingawaythe wet icingor by
piping them in with a verynne tube.
Shadows and highlightsshou Idbe
palmed in when the icing iscompletely
dry, usingas little moistureas possible.
Water may be used to dilute the food
colouring but care should be taken not
to get the icing too Wet. A spirit such as
gin or vodka ispreferableas this will dry
immediately. Beforebrushing the
colour onto the icing, tTy it out on a
sparepieceof icingas the wrongcolour
will be impossible to remove. To take
awaythe fl at lookfroma leaf, brushOne
sidedarker and always darken the same
side [0 show that the light iscoming
fromone direction. The baseof a petal
will be a deeper colour than the tip. Use
an almost dry brushand verylight
Strokes to obtain subtle shading.
Working
BrushEmbroidery
3
Pipe and brush through leaves
in the foreground. Pipe in
calyx of bud .
Mark out design byembossing
Outl ine leaves in th e background. Pipe inner line,
1. or tracing.
2 complete each section first. Brush through from
tip to base with long smooth st rokes usin g adamp brush.
5
Cover ca
template
mark inn
a scallop.
scallop 0 1
a scriber.
design by
side rnoti
snailstrai
Camp
Pipe furled edge of petals with of the cal
heavier line, smooth with damp for side et
brush and add details. done at e
4. Brush flower petals lea ving furled edge.
78
Magnolia
Cake
c,
lp
Cover cake with sugarpaste, Cut a
template to (j t the sideof the cake,
mark into 6or 8sections and cutinto
,1 scalloped shape. Mark line of
scalloponro the sideof the cake with
ascrioer. Transferthe magnolia
,hignby embossing or tracing. Mark
sdemorifin each scallop. Pipe fine
mailstrail around the cake base.
Complete brush ernbroideryon top
L,( the cake. Tilt cake awayfrom you
for side embroidery, which iseasier if
done at eyelevel.
Make flounce usinga ci rcular friII
cutter. To layer the flounce at the
points, cut circles into three equal
sections, frill and stick by brushing
the unfrilled edge with water . Stick
each piece to the cake below each
point at board level adjusting the frill
as you go. For the second layer, cut
each circle into four equal pieces and
repeat the procedure, sticking each
piece above the first layer. A third
layer can be used, but if the top edge
extends beyond the marked seallop
79
line, this must be carefulIycut away
with a scalpel.
For the top flounce, cut circle of
paste and open out. FriII one edge and
cut to fit the scallop. Stick to the
cake, adjusting frilland neatening the
top edge. Repeat all around cake,
tucking in ends of the frill at the
points. Final Iy, pipe a fine edging
around top of the flounce to disguise
the join.
80
82
LESSON 7
Lace
,
'
:
I
F
ine lace makes the most beautiful and
delicate decoration which has always
Lacing
been prized for adding a touch of elegance to
a garment, raising it above the ordinary level.
In recent years there has been a
revival of interest in lace-making as a
craft and of course, it has always been
popular for wedd ing dresses. It follows
naturally that lace work is also a very
popular form ofcake decorat ion,
since the addition of finely piped lace
wi IIadd de Iicac y to many designs.
Although it is very fragile, when it is
made cor rec tly, it is quite easy to
apply to the cake and transport
without breakage. Small lace pieces
are commonly used as an edging
above a border of exten sion work or
flounces, to add interest to a row of
ribbon inserts, or to surround a
picture Or floral arrangernen t on top
ofa cake. Luger pieces can be placed
close together around the base ofa
ca ke at an angle of 45
0
, tabng the
place of a flounce or ex tension work.
The icing must be very strong and
you will have mor e success by using
egg whi te in icing for this work .
Designing Lace
To design pieces of lace, draw the
shape ofone side qui re roughly. Lay a
84
piece of trac ing paper over th isshape
and improve on it in pencil, altering
the lines until you are satisfied with
the shape. Fold the tracing paper in
half and trace off the ot he r side which
should rnarch pe rfect Iy.
EQUIPMENT
Waxed paper or baking parchment
or
thick transparent plastic sheet.
Several icing tubes (preferably No
00 or 0 for delicate lace) . No I can
be used for outlining large pieces.
MethOi
Tape til
stick tH
of icin
To R'
orOtu
onlv a II
which e
bag she
would )!
to the r:
bur do r
Even pi
much p
lines, to
weaksp
broken
lines f
make it
than yo
Leave tl
palett e
loosen \
att ach t
icing wi
gentl y n
pos irior
Care of
Fine rul
even w]
it is best
sweater
slee ves :
at all tin
If rhe
soak ant
bru sh . F
icing. N
pi n as it
tube.
Storage
To store
required
layflat il
absorbs
air willc
therefor
cupboar
some sill
availabl,
indicarn
when th
be dried
Method
ofWork
Method
Tapethe pattern to the flat board and
stickthe waxpaper on top with dots
oficing .
Topipesmall lace pieces, take a 00
orO tubeand a small paper bag. Put
onlya little icing in the bag. For lace
which consists of small curves, the
bagshouldbe held rather as you
would hold a pen, with the tube close
rorhepattern. Pipe over the design,
bur donot actually scrape the surface.
Evenpressure is very irnportant - roo
much pressure will cause uneven
lines, too little pressure will produce
weak spotswhich wiII be easill'
broken. It is important that all the
lines of the lace touch as any gap will
make it weak. Pipe manymare pieces
than you need to allow for breakages.
Leave to dry. To remove , slip the
palette knife underneath to free it or
loosen with a dry pa intbrush. To
atrach to the cake , pipe a fewdots of
icing where the lace is required,
gently touch the lace to the icing and
positi onat 45
0

Careof Equl prnent
Fine tubeswill easily become blocked
even when the sugar is findy sieved sO
it isbest to avoid wearing fluffy
sweaters or to wear an overall with
sleevesand to keep the iclng cove red
at all times.
Ifthe tube should block , put it to
soak and later clean it with a smaII
brush. Fillanother bag with fresh
icing. Never try to clear a tu be with a
pin asit could damage the end of the
tube.
Storage
Tostoreany Iace which is not
required, leave on the wax paper and
lav flat ina box with a Iid. Assugar
absorbs moisture, any humidity in the
airWill cause the icing to soften,
therefore, it must be kept in a dry
cupboard or the box shou Idcon fa in
some siIica geI crystals which are
available from chemists. The self
indicatingvariety change colour
when they become damp and should
bedried out in the oven.
Colouring Lace
Sameti rnes it is necessary to colour
lace to match ribbons or flowers. If
you decide to tint the icing before
piping, it would be better to use liquid
colouring for this purpose <1S most
paste colours contain glycerine which
wi II soften the icing. Another
method is to pipe the lace in white
and when dry and still attached to the
wax paper , brush lightly with petal
dust mixed with a little ICing sugar.
Large Lace Pieces
These should be piped with a fine
tube for a delicate effect but the
outl ine may be piped with a No I rube
to add srrengh. Another wayof
strengthening a large piece of lace is
to tum it over byslipping an artist's
85
palette knife underneath the king to
remove it from the wax paper, or by
drawing it to the edge of a table and
letting it protrude a little over the
edge, at the same time gently peeling
away the paper, supporting it well all
the time. When the lace isturned
over, pipe another line on the back of
the outline and leave to dry.
Lace Piped 00 Net
Some of the finest needlepoint and
bobbin lace in the world is
embroidered or appliqued on to a fine
net base. It is possible to create a very
authentic effect by piping a lace
design on to a net base. This is a very
practical method for making a deep
lace border.
86
Border 1
Cut a stripof fine net deeper than the
motif. Place the pattern on a board,
coverwith transparent plastic filmand
stick the ncr on top with dots of icingor
pins ifthe board issuitable. The icing
should be quite soft for thi s as it will
breakawayfrom the net if it is toostiff,
but it will need to beinn enough to
hold its shape. Pipe the pattern as many
ti mes as th e snip requi res including the
scalloped edge. \Vhen dry, cut the edge
d ose to the scallopswithsmall pointed
scissors. TI1is border has small pleats
between motifs to give fullness.These
should bestit ched to hold in place. The
net shallld be bent over the fingerto
takeawaythe stiffness. This wiII enable
it to flouncenicely. Pin the completed
sui p to the cake and pipea neat Iineto
secure the net to the cake. Removepins
when dry. SmaII piecesof lace makea
pret ty edge to hide the join.
Border 2
This border is piped the same wayand is
appliedstraight to the cake bypiping
with royal icing and attaching
separarely pipe-d Ieee pieces over me[Or
edgeof the cake.
p
ps
au
fo:
or.
tlc
USI
Flo
The
asbefa
curve
cake, t
icing. .
icing is
Floral Motif 1
Place waxor plastic filmover the design
and layfine net an top. Using medium
peak icing and0 or 00 tube pipe all the
outlines and fiII in the solid areas . Dry
for severaIhours. Usingpoi nred scissors
ora sharp scalpel, cut around the
flower . These can befixed to the cake
using dots of icing or egg white.
II
Floral Motif 2
The fuchsia motif is piped and cut out
asbefore. Itis then gently bent into a
curve and pinned into place on the
cake, then attached with small dotsof
icing. The pins are removed when the
icing isdry.
87
Side
Decorations
Side 1
Here small lace piecesare usedto
accentuate a heart shape which was
scribed On to the side of the cake. The
spotted decorationcouId be replaced
with a monogram or floraldesign.
Side 2
Largerpiecesof laceartached to thetop
of a bandof ribbon and leftsuspended.
Asthey are a little heavier than the
small pieces, they shouIdbesupported
fora fewminutes until (he icingisable
tohold them.
Side 3
T\\'MO\\'Soflaceareattached (0 the top
ofa.rraighrtlounce. The top rowof
lace piece. aresmaller than the
llndcmc<l rh row. Small plungerflowers
arc anadded interest.
Side 4
. . ,
;_;> ,:.".o;c -i-o.,:;,:i;.;<'o -_.- '__ ..' _.,." __
TI1LIsidcdecorationis basedon a band
afribhon<Itthecentre with embroidery
and lace aboveand below.
-
89
Cockerel
Thi s was r iped on plastic film which
haJ been taped over the design. AlI <i
rhecoen areasmust befilled in as
illus rrated to srrcngr hen rm- figure. Dt)
well. remove from the fi lmby dra\\ing
[0 the edee (,f the tableandea,ingthe
frlma wav. a e m ~ t betaken ( 0
SUJ'f'l'" all partswith the hand. Anach
rocake r.lf' with small d! 'l(sii icmg.
Girl
Pipe' as (or rhe cockerel. All areasot Inc
J ~ and lIprun must hefil1t"11 In with
r iping. It isbetter to ri pe the facial
features and the hairdrrectlvonto the
cakealter the figurehasbeen
tra n..,(t"rreJ i nto fll,Jl<i l t i on .
BlueCake
with Flounce
Pipe [hefigure of the little girlon wax
paper using the pressure-piping
technique, allow rodry. Ifyou wish to
inserrhe figure. cover the ropofrhe
cakewi rhadisc ofsugarpasreexactlv
the same size as the cake. Usinga currer
ora template, cut out a circle large
enough 10 rake the figure . Now cover
rhe cake in the normal way. Ease the
paste around rilecur our area and make
acut inthe middle to make the shaping
easier. When rhecovenng isqui te
smo oth , dropina disc to fit the hole.
Stickrhe fi gure in position with a little
royal icing. Sunollud.tnt \ ~ \ . ( \ ~ R
with sma\\ l,)i.ece\'o 0\\ace st'dno.i.ug
upright. A douhle flounce around the
base of the cake has the same lace as an
edging trim.
The butterlliesare pipedon wax
paper using a No 0 tube. Th eyare piped
intwo colours and allowed to dry.
Attach to the side of the cake with
small dots of icing. The antennae must
be piped directly on to the cake to avoid
breakage. Use a dry pai nrbrush to help
support this delicate lace.
A small posyof miniature flowers is
placedoff-centre. There isalso room to
pipe a name ifappropriate.
The cake isillustrated in full on page 84.
91
Starting withScrolls
Startingtvith HalfCircles
Arrangemen! of Petal Shapes
Variations on Hearts
BClledon OvalCentre
92
Dmwinga rowof lace pieces onto squared paper
or graph paper sothat the pieces areallthe same size.
CJ
93
d
Templates forCockerel andGirl
94
LESSON 8
Extension
Work
LESSON 8
Extension
Work
E
xtension work or curtain work is a very
delicate form of decoration. Simple
Extension
extension work consists of a bridge which is
formed by piping a series of dropped loops
with subsequent rows piped exactly on top of
the previous row.
Work
The bridge supports very fine vertical
lines which are piped from a strarght
or shaped line previously marked on
the side of the cake and attached to
the bridge at the base. Use a No 0 or
00 tube to achieve this fmgilc effect.
Patience is needed to produce the
neat, even finish whicl. isessential in
work of a high standard and the
decorator should practise using a fine
tube before attcrnpring this work.
The extension work should be
designed 10 complement the shape of
the cake and any other decoration
which is to be used. Therefore, allof
the features on the cake must be
planned together to make a balanced
design. A narrow straight band of
extension work WIll iit in with most
cakes whatever their shape and size
and will allow plenty offreedom to
use lace, flower or embroiderv work.
An ornate section of perhaps tiered
extcns ion or overpi ped extension
work with a lace edging isan
important feature on its own, and to
show up its delicate beauty, the rest of
the decoT<1t ion should be simple.
Ifthere is to be astraight bandof
ribbon above, the curtain work will
look better if it has a stra igh[ top. If
the top edge is to be shaped with
points or seallops and decora ted with
lace, both should be worked out
together to be sure that the lace is not
too Wide 10 fit small spaces. The
extension work is not usually any
deeper than one-third of the depth of
the cake, ot herwise it looks out of
proportion. J( is also more difficult to
pipe very deep lines as the pull of
gravitv may cause threads to break.
Where there isto be a flower at the
base ofThe cake ora very long spray
trailing low over the side, the
extension work could be designed in
sections with a gap in the appropriate
place or have high and low points so
that the flowers could be positioned
above the low point. A square or
hexagonal cake is ideal for tiered
extension work as this makes a very
good comer design with two or three
rowsof extension work, one above
The other at (he corner tapering down
to a single row in between. When
working out the design (or a tiered
cake, the same method is used for
each cake regardlessof size, the
scallops will be the same width on
each cake but the number WIll vary.
Preparation
Before commencing the extension
work, check that the coating of the
cake is smooth and free of blemishe s
right down to the board as very fine
work will nor lude any major faults III
the covenng, Check that the SIdesof
the cake are quite straight.
Jt iseasier to pipe curtain work
when (he cake board is not too large
but it must be large enough to protect
[he bridge from accidental knocks.
Icing
Good extension work requires good
quality icing which must be of the
correc t consi stencv, weII beaten and
free from Jumpsor specks which could
block a fine tube. The addition of a
little liquid glucose will give the icing
more stretch, which i ~ a great
advantage when piping the fine
vertical threads. Use I rnl (1f4tsp)
liqUid glucose to each egg white used
and stir into the finished icing. To
make the icing stronger, the egg
white may be left in a greasefree glass
bowl for about 24 hours at room
temperature. Sieve the icing sugar
several rimes through a very fine sieve
or clean nylon stocking. This isJ very
laborious task but well worth doing
when it saves the frustrat ion of
blocked tubes. The icing shou ld be
smooth and beaten to medium peak.
Experience will show what is the
correct ccnsi stencv, if it is roo firm it
will not 110w easily from the tube but
if roo soft the drop threads will have a
tendency to break.
Templates
Decide on the type of extension work
to be used and make a template from
greaseproof (waxed) paper the same
length as the circumference or one
s i d ~ of the cake.
Fold this strip in half and repeat
several times until the section is the
right width for the base scallop,
96
approximately 2.5em (l in) . The top ren
edge of the template should now be slop
drawn and cut into the required burs
shape. For a straight edge, decide the the I
depth of the extension work and cut T
the template in J straight line. Hold folk
the template firmly against the sideof
the cake or secure with sticky tape.
Mark the line for the top edge with a
needle or scriber. Mark the positron
for the base seaIlops by inserri ng a
needle at each fold in the paper. Pipe
a snailstrail or row of beads around the
base of the cake with a No 0 or I tube.
The Bridge
Put the cake on the turntable or
elevate to eye level. Tilt the cake
away from you and pipe dropped loops
to form a bridge with a No 0 or I tube,
using the pin marks as a guide to the
high points of the seaHops. These
loops should not touch the board and
should also be clear of the snailstrail ,
they should lie securely again st the
side of the cake. Asecond rowof
scallops is piped exact lyon top of the
first row and the bridge is built up in
th isway, drying each rowthoroughIy
before another is piped. unti I
approximately six rows have been
PL
piped with a No I tube or ten rows
with a NoOtube. There should be no
st1'
gaps between the rows of scallops as
T h i ~
thi s will make a weak bridge. If
and '
several rowsare piped without drying
brid,
each row, the whole bridge cou ldsag
or collapse. When the bridge is quite
dry, the piping of the curtain work
can be started.
Tilt the cake towards you to
prevent the threads from sagging
towards the cake . Commence pipmg
straight Iines by touching the tube to
the marked top edge and squeezing
out a thread which is then secured
under the bridge. The next thread
should be piped very close TO the first.
It is important that the spaces should
not be wide enough for another
thread to be fined in between. Keep
the bridge clean by wi ping off any
untidy ends with a damp brush. The
threads must be piped straight and nor
lean i ng to ei ther side, these should be
She
checked every few inches and
andl
1
rectified ift hey are begi nn ing to I . Pipe a dr opped lin e wit h a fine 3. Pipe a rowof rtny dors at the ba se
slope. Ifa tube gets blocked or the bag tube. touchi ng a t t he hi ghpoin t of of th e drop lines following the line
bursts. do n OI put the iCHl g back in the bridge and following the line of of the bridge. The top edge is
thebowl, discardand use fresh icing. th e br idge . neatened wit h finely pi ped dot s or
Tofinish th e lower edge. one of t he 2. Pipe tur y loops at t he base of the loops o r lace pieces.
fi ,llowing methods may be used. drop lines.
TheBridge
Plain extension workwith a
straight top.
Thisshows rowsof bridge work pi ped one on copofanother
and the verti cal lines piped fromthe top edge. over the
bridgeand secured underneath.
Bevelled extension work.
This shows each row ofbridge starting in th e ce ntre with a
short line, a longer line is piped on top in the next row
extendi ng the same distance each side of th e first Iinc, each
rowis longer unri Ithe bridge covers the whole section.
Overpiped extension.
Showing build upof the first bridge, th e ve rtica l drop lines
and finally the second bridge with overpiped curtain effect.
Upside,down bridge.
This is piped with the cake upside down.
97
98
Basic Extension
Work
Piped with No0 tube and finished wuh
droploopsand lace pieces.
Extension Work
with a Shaped Top
The template is made bymarking the
basescallopsas before andcutting the
largescallopat the top, the width of
two basescallops, Pipe the bridgeand
curtain workas beforeand finish by
piping hailspots even Iyover the
surface. 111is must be done with a very
light touch or the threads will break.
TIle top edge LSfinished with a fi ne
snailstrail and the bottom with more
tiny dots,
Overpii
Work
TI1C template
top edge isCUI
same width as
usual wayand
bridge is pipeo
first and follov
When all the
lin es of the ov
tilting the cak
piping in the 0
lea n ing. Tilt 0
direction to pi
the other side:
PlainE:
Ribbon
Narrow ribber
cutting the rib'
the piped lines
of icing at the I
between each:
finished with c
from the cake.
This isachk
towards you ve
gra vity to pull I
cake. When t ~
dots on them t l
Overpiped Extension
Work
TIle template IS made asbefore but the
top edge iscut into points, each one the
samewidth asthe basescallop. Pipe the
usual way and allowto dry. The second
~ r i g c i ~ pipedexact!y the same as the
fi rst and following the same lines.
Whcnall therows are dry. the diagonal
Iincsofthcoverpiping aredone by
tiltingthecakecoone Side before
pipinginthedirection the c"ke is
leaning.Tilt the cake in the opposite
direction topipe the diagonal lines of
the otherside.
Plain Extension with
Ribbon Inserts
Narrowribbon is let in at intervals by
cutting the ribbon the same length as
the piped linesand attachi ng with a dot
of icingat the top and the bottom
between eachscallop. TI1e top edge is
finished withdrop loops hanging away
from the cake.
Thisis achieved bytilting the cake
[awards you very steeply. allowi ng
gravity to pull the loops away fromthe
cake. When the loopsaredry. pipe (I ny
dotson them to decorate.
99
100
Diagonal Overpiped
Extension Work
111is is a little more diffi cult and plain
extension workshould beperfected
before arternpting it.
Pipe t he bridge as before and dry.
Tilr the cake towards you and at the
same. time, put a prop undern eath one
Side sothat it isleaning sideways. This
willallowthe diagonal lines to hang
straight. Pullout a strand of icing from
the cop line and attach it to a point on
the bridge about 5mm(1/4 in) to the left
or right of rhis paint. Pipe all linesclose
together and evenlvso that the angle
remains the same all round. Dry.
Remove the prop. Pipe a second bridge
over (he (OP of the first On C. When this
IS dry, place the prop the ot her side of
t he cake then overpipe wi t h diagonal
lines in the opposite direction.
Bevelled Extension
Work
The base lmes for this typeofextension
work CI te straight instead ofscalloped.
The first line is veryshort and centred
between the section marks. The second
rowi ~ pipedon top and <-l little longer,
ex tending the same distance ei rher side
of the flrstlme. Each line of the bridge
is pipeda lit!Ielonger and the last line
ex tends across the whole section. The
finished bridge is in the shape ofa
crescent . Th edropped hnes are then
piped in the normal way.
TiE
We
Theil
three
requin
Ma
A t the
sca llo]
of rhe
but an
shape
Pip
pipe v
111c sc
loops
drop Ii
Pipedl
design:
bridge:
EXl
witJ
Mark 1
rhe shr
bridge
pl acim
hoard(
rhing ,
iccd se
cove rii
usual ~
righ t-s
ex tcns
Tiered Extension
Work
tOI
Bells
Makea template in the shapeofa bell
and markthe designon the side of the
cake. Tbe basesof the bells <Ire pipedas
for bevelledextension workbut are
sligl1t1y arched CO give U1C appearance
ofa hollowbell. The cake should be
turned upside-down for th is part of the
operation. The shape of the bell is
pipedbyrunning drop lines fromtop to
base, following the lineof the bridge
and thisautomaticallyfonns the curve
of the bell. Pipea largebulboficingat
the basefor the danger.
Extension Wark
Suspended on Points
For this typeofextension work. the
boardshould first becoveredwith a
thin layer of paste. The coveredcakeis
placed in positionand a fine snailsrrail
"\
iii 111/ 1111111'1!! 1111" " "Ilf
pipedaround the baseof the cake.
Usinga template mark the place where
the extension will touch the board,
about 8mm (3fsin) awayfrom the cake
and the normal width (ur the scallops.
Marka straight Iine forthe top. Turn
t hecake upside-down andelevate it so
that the board surrounding the cake
can beclearlyseen. With NoI tube,
pipedropped loops from the board,
suspending them from one mark to the
next . Allow to dry forseveral hours
before turning the cake upright. Leave
until next daybefore pipingthe vertical
lines. Pipe the fine threads from(he top
lineand endingjust belowthe arched
loop which isstandingon the board .
Care should be taken not to knock
these loops as they cannot be repaired
unless the cake IS turned upside-down
again. When the drop threads arequite
dry, pipe on decoration ifrequired.
Fi nishoffthe baseof the drop threads
wi[h tiny dots. TIle top isalsofinished
withdots, pipedelmer side of a band of
ribbon which wasappliedto the cake
beforethe extension workwasstarted.
102
E
Thcb
pipinl
feathe
rechrr
overa
the ba
Feath,
These
flower
start fr
fromtl
indivu
Curl tl
the ler
startin
are stil
lirtle e
in the]
body. I
curl of
Thebe
and a d
basic sl
petals \
shr cdd
fringe \
overlap
Compl
these f(
previot
head . F
a fine b
blosson
the bru.
create t
surroun
into the
The
by mak
wire to
been tal
smaliesl
and am
for the c
Cut l.
vein an,
flowers:
Stick th
icing. L
securing
the brar
T
his cake has the theme of birds running
right through from the bird on the branch
BirdCake
of blossom to the lace which represents
feathers, down to the filigree birds which
have been incorporated into the extension
work.
The bird on the top wasmade by
pipingthe basic shape minus the tail
feathers, using the pressure piping
technique. When dry. this was turned
over and the same thing was piped on
theback.
Feathers
Theseare made (rom thinly rolled
llower paste. Toapply the feathers,
start from the tail. Cut out a templ ate
irom the pattern and cut the
individual feather s with a sharp knife.
Curl themslightl y by stroking along
the length with a dog bone tool,
starting at the top. While the feathers
arestill soft, stick to the body with a
littleegg white. Layer the feathers as
inthe pattern, working up to the
body. Use bits of foam to support the
curl ofthe feathers until they are dry .
The body feathers are much smaller
andadai sycutter was used to cut out a
basic shape from which individual
petals were cut. These were then
shreddedwith small scissorsforming a
fringe which was then stuck on,
overlapping the tail feathers.
Complete the body by sticking rowsof
these feathers $\ightl Yoverlappi ng the
previousrow and work towards the
head. Paint the eye and the beak with
afine brush. The background
blossoms were piped freehand using
the brush embroidery technique to
create the illusion of the bird being
surrounded by blossom, di sappearing
into the distance.
The hawthorn blossoms were made
by making a tiny calyx, attaching a
wire to which cotton stamens had
been taped. Petals were cut wi rh the
smallest o( the miniature rose cutters
andarranged around the sra mens as
(orthe dog rose.
Cur leaves from template, shape,
vein and attach wire. When dry, bind
fl owersand leaves to form a branch.
Stick the bird in position using dors of
icing. Lay the branch over the bird.
securing with icing. Pipe little feet on
thebranch.
: ....
, . ~ " ' \ ..YT
----- -
Filigree Birds
Place wax paper over the pattern.
secure with small dot s of icing, pipe
with a 0 tube. The central flower and
the neck ma y be overpiped to give
extra st rength . Pipe more than you
need as they are extremely fragile .
Extension Work
Measure the circumference of the
cake and Cut a st rip of greaseproof
(waxed) pape r to fit exact!v- Fold into
even sections until you have the
desired width for scallops. Drawthe
shape required for the top, planning
the low points so that they are the
same height as the filigree birds.
Using the template, mark the design
on the cake . Pipe fine snailst rail with
a NoDtube. Pipe bridgework with a
NoDtube as previously described.
Lace
Pipe pieces of lace in the feather
design making more than you need.
Fora delicate effect use a NoOO cube.
Pipe extension work with a NoOa
tube, keeping the threads very dose
together. When dry, pipe dots across
the bridge to neaten.
Remove filigree birds verycarefully
from the wax. A cranked artist's
palette kn i fe is usefu I for this purpose.
The birds have to be leaned against
the low areas of the extension work
and secured with tiny dots of icing. A
dry paintbrush is useful to help
support the birds until the icing isdry
enough to hold them.
A ttach lace pieces wi th dots of
icingof tbe same colour. Pipe a neat
row of tiny dots just above in a slightly
deeper colour than the main coating.
103
( d _ Temp!ates Jor eSI'Oe-: ll< !LIed in tl1is lesson
104
LESSON 9
Creat i ng
Embroidery &
Lace Designs
/
,
i
E
mbroidery and lace are of great
importance in the creation of a beautiful
Tube cake which will form the centre-piece of a
wedding or other important occasion.
Embroidery
'l
I
Th ishas become such a popular form
of cake decorat ion t hat the same
designs appear with monotonous
regulantv and, whilst still being very
skilful, are no longer remarkable.
Origina!i rvis all important in
ma king ani rnpact and, a Ithough you
may have adapted the design from
another SOUTce, your interpretation in
sugar wiIJ make a fresh original design
for your cakes. Insread of always
copying designs from cake decorating
books. it isexciting to look at other
sourcesof inspiration such as dress
embroidery, wrapp i ng paper, C3 rds
and lace wedding veils.
The following examples have been
taken fromsome of these sources .
Bird and Floral
Branch Plaque
111 isdesign wastaken from a Chinest
fringedstole. It isworkedentirely in
bands ofsarin stitch. 111etracing was
taken froma photograph and was very
small. It wasenlarged using the grid
method then Jigh tIytraced on to the
plaque using a non- toxic penciI. A
largerversion of this design would make
a good top decoration (or an embroidery
ent husiast or perhaps fora man who
considersspraysof flowers to be too
effeminate for him.
Toadstool Plaque
The toadstool caps are worked in long
and short stitch , the stems and leavesin
sarin stitch. the blackberriesand small
stonesare made up of French knots, the
largerstones in satin stitch, grasses in
fea ther srirch.
The background ispipedfirst,
graduallyworking to the front.
Toadstool caps are done inane
operation, changing the shade where
necessaryand brushi ng through to even
up the stitches. This tablecloth design
would besuitable for the top ofa cake,
or, ifreduced in size, would workwell as
a sidedesign.
He
ThisI
from:
rraceo
of the
the b]
drawn
cleare
reduc:
111ee;
sarin s
knots,
otube
Bra
All oft
fromfa
handk,
blouse
done, "
The rrt
plaque
few hOI
to CI'3Zt
Focalp
the par
holes IT
Lesson
previoi
the S;lIT
design I
This
of rnon
cmhell
maybe
add rno
haveth
motifs r
106
Honeysuckle Piaquc
Thishoneysuckledesign wastaken
irom ablouse; the design wasroughIy
traced by placing tracing paper on top
ofthefabric and tracing through . Using
theblouse for reference, the lines were
drawn over with a pen to rnake them
clearer. The designdid not need
reducingor enlargingfor th isplaque.
Theembroider)' wasexecuted with
satin stirc h, stem stitch and French
knots, usingmedium peak icingand No
Otuhe.
Broderie Anglaise
A11 ofthe pattern examples were taken
from Fdbncs, tablecloths,
handkerchiefs, table napki ns and
blouse collaTS. A complete rracirtg W<lS
done, asfor the honevsuckle plaque.
The traclng paper W<lS placed on the
plaquewhich hadbeen left to dryfor a
few hours but wasstiII soft enough not
to craze when the holes were made,
Focal points were pricked with a pin,
thepartern wasthen.removed then the
holes made with a brush handle asin
Lesson 5. The design wasworked as in
previous step-by-step i nstruct ions. Use
thesamemethod for transterring the
design to the sides and top of a cake.
Th isborder design issimply a series
ofmotifs joined bya curved line,
embellished with leaves. This border
maybeadapted for any size of cake, JUST
addmore flowers to each rowtint i1you
havethe correct size. Try using other
motifs[0 make your own design.
107
Brush
Embroidery
~
.
Rose Design
Taken from wrapping paper. The
individual flowers wereattract:ve but
did not (OM a compact design suitable
for a cake so they were traced of(
separately and re-grouped. Method o(
work asdescribed in Lesson6.
Butterfiy Plaque
Work the background first, then the
flowers, fi nallv the butterflies so they
appear to be on top of the flowers.
Freesia Plaque
These are straggly flowersand dif(icuJt
to group tidi Iy but they a re much loved
bymanypeople and are useful because
they fit into manycolour schemes,
growing as they do in such a varietyof
colours. Tearn brush embroidery with a
(ewmoulded freesiasarranged at the
base of the cake isdem onstrated here.
Ent
Red
1. :
transfe
insertu
soft pel
Draw <l
2.
design '
rhe orig
nurnbe
rccranp
on to rl
make ti
where t
then yo
108
Enlarging or
Reducing a Design
1
Trace rhe ourline of the picture
on CO tracing paper then
transfer the design to squared paper by
insertingcarbon paper or by rubbing
softpenci Ion to the back of the sheet.
Draw a rectangle around the tracing.
2
Draw another rectangle
smaller to fit the sizeof the
design you want. Count the squares in
theoriginal grid and draw the same
numberofsquares in the second
rectangle. Carefully copy the design
on10 the new grid. lr will help to
maketiny marks on each square
where the Iines of the des ign cross j t,
then you can join up these lines.
Method 2
The quickest and simplest method of
altering the size of the picture is by
photocopying. Many of the modem
machines wi II enlarge or reduce
images and if you do not ha ve access
to photocopying facilities, some
public libraries, colleges and large
stores offer this service for a small fee.
L09
,
:
l
'
Creating
Lace Designs
Some wedding dresses and veils have
such beautiful embroidery that the
bride rnaywish to make it part of the
theme for the wedding and (IS the cake
is an important part of the wedding
breakfasrand the bride wi II stand near
ro it, the cake decorator may be asked
to incorporate the embroidery in to
the design of the cake.
The following examples of
embroidery are ta ke n from pieces of
Nottingham lace and the designs
were transferred from the f(lbric as
Lace Plaques
These are pi ped with aN00 Of NoOa
rube and would be suitable for the sides
ofacake. Youwill see (hat the shapes
have been modified in some cases to
give clearer lines to pipe.
It is not usual to trace the complete
bee design onto the sugarpaste surface.
As this work must be very fine, there is
adanger that pencil marks may show.
The focal points of the design should be
pricked out and the piping done
freehand.
follows : lay aclean piece of tracing
paper over the design and lightly trace
the main pointsof the pattern, taking
care not COtear the paper and risk
soiii ng the garment with pencil.
Keeping the fabric close at hand for
reference, re- trace the mai n Iines .
Ora w in the fine dewiIs. Reduce or
enlarge the design as necessary.
Another method of transferring
t he design is by photographing the
material , then trace the outlines {rom
the photograph. White lace will
photograph better when taken
against a dark background.
it may be necessary TOsimplify the
desi gn as some laceembroidery has a
random effect due to the way the
threads are laid down and this could
make your piping look untidy.
The side deer
piece of ecru]
main
flower, the cri
of th e stems <II
inverted Vsh:
ext en sion war
Coveran2u
cake with suga
t inted by knem
tartrazine-frce'
and just a trace
colour. Mix tlu
piece of paste a
mi xed, add
main piece ofp
the paste hasbe
kneading, cove
refrigerator forl
more rnanagea]
cause the paste
should be used o
to 'lvoid probler
iced cake to set I
transferring the
design OIltO pap
aga inst one side
out t he main po
Pipe snailstra
cake with No! t
from you and wi
pipe the ernbroi r
exte ns ion work.
wax paper orde
Leave to dry tho
more pieces rhar
lor breakages. Pi
line above the
position where y
lace, gentl yroue
icing and check t
line. Finish the It
dots or scallops. I
flowers to suit Chl
to match the brid
See paRe 105f(
COm[JlelCdcake.
JI0
Nottingham
LaceCake
TIlesidedecorationisadapted froma
piece ofccruNottingham lace. The
main fearures of the laceare the type of
flower, thecriss-cross eliect of the line
ofthesterns and the colour. The
inverted Vshapeisa perfectplace (or
extensionwork.
Coveran lOcm(Bin) hexagonal
cake wirhsugarpssre which has been
tinted by kneadinginto it eggyellowor
tarrrnzine-free cream paste colouring
and JUSt atraceofblack to soften the
colour, Mixthe colourfirst into a small
pieceofpasteand when thoroughly
mixed, add this insmallportions to the
mainpiece of pasteand knead well. If
thepaste bas become roosoft after
kneading, coverand allowto rest in the
rrtTigcraror fora short time to become
more manageable. As the tinting ID<lY
causethe paste to dryout a little, this
shollid beusedon the day it iscoloured
ru avoid problems of crazing. Leave the
iced caketo set (orat least a day before
rransferring the design. Trace the
designonto paper. Hold the pattern
a ~ a n s [ one side of the hexagon. Prick
out themainpoints.
Pipe snailstrail around the baseof the
cakewithNol tube. Tilr rhe cake away
from you and with a NoOor NoCO rube,
pipe tile embroiderybeforestarting the
extension work. Pipe lace pieceson to
wax paper or clear baking parchment.
Leave todry thoroughly. Alwayspipe
more pieces than you will need [0 allow
forbreakages. Pipe a fewdots or a fine
lineabove the extension work in the
position whereyouwant to attach the
lace, gentlyrouch the lace to rhe wet
icingandcheck that each piece isin
line. Finish the loweredge with small
dots orscallops. Add an arrangement of
Oowers to suit the colour of the cake or
rematch the bridal flowers.
Seepage 105for illustration of
completedcake.
111
-. ~ - - - - - 0 ULCe Dcsil-,'llS


0
Tube Emhmulery
11 2
Brush Emhrouu.'ry
113
Brush EmbroideT)'
Tubt: Emhroidery
114
LESSON 10
Bas Relief
& Smocking
B
as Relief is a form of three-dimensional
modelling in which less than half of the
Bas ReIief
true depth of the figure projects from the
background. Throughout history it has been
widely used as a surface decoration in
.pottery, woodcarving and scu1pt ure.
More recently bas reliefhas been
adapted for use in cake decorating, as
sugarpaste has shown itself CO be an
excellent medium for this technique.
Cake covering fondant should be used
in preference to modelling paste as it
remains soft, thus giving a longer
working period, it will alsobe more
palatable when the cake is eaten.
The design shou ld be transferred to
the cake or plaque using one of the
methods used in Lessons 5and 6. If
there is to be a background to your
picture, this should be completed by
hand painting, outline piping Or
brush embroidery before the bas relief
isstarted.
The paste should be rolled out to
about 5mm (lAin) thick or even less if
the figure is very small. With a sharp
poin ted knife, cutout the section
which is to be executed in bas relief.
Moisten the underside and stick to
the cake within the outline already
marked. Generally the can tours ofa
figure can be defined quite well by
depressing the low Iying areas or those
appearing behind but if you wish to
emphasise an even more raised area, a
small piece of paste may be slipped
underneath before the figure isstuck
down, then commence the
modelling. [( necessary, decoration
can beapplied to the modelled figure
by piping or by using the applique
method.
Stel
Bas
1.
left eol
artempi
2. s
edges ne
3
Pa
we
with adtv
or any or]
116
tep..by.. Step
:as Relief
Design transferred to plaque
l . with scriber, (Icing should be
t to harden for a few days before
erupting th is method).
f. Sections of design cut out,
ges neatened.
Parts.appearing behind are
I. worked first. Bevel edges
h adivan tool and mark veins
myother def ni tions.
Ll7
Complete by adding the centre of the daisv
4. Add petals, bevel edges and mark petal veins. 5 and calyx. Prick the centre all over and pipe
veIlow dots around.
Bas Relief
118
Plaques D
T

w
Birds

The textures of the feathers are marked
is
with a divan tool and the rounded body
aJ1
isemphasised by slipping a tiny piece o(
paste underneath. Smooth aIIthe edges
sp
an
so that they almost blend into the
to
background.
aft
de
Fish
This isan example of bas rei ief
combined wirh applique. The weeds
andfinsare cut from mode II ing paste,
shaped with a ball tool and applied to
thesurfacebefore the body, which is
decorated with piping and app liqued
bandsofco lour.
DurchGiTl
The unclothed bodyand facewere
shaped with a divan tool. Extra care
was taken when smoothing the face to
avoid leaving any ridges. A pretty face
isdifficult to att ain but keep rhe nose
andchin small, trim rheedge if it
spreads too much, carryon smoothing
and trimming until the result ispleasing
toyou. Anns and hands are applied
after the dress. The cap isadded last and
decorated with comelli work.
I
I
. !
119
T
he technique of applique consists of
applying cut-out shapes of material to the
Applique surface of other material, one shape can be laid
on top of another to build up the picture.
In textile embroidery, felts are often
used because they do not fray, wherea s
other woven materials have to be very
carefully stitched to prevent fraying.
TIle stitches most commonl yused are
straight overcasting and basic
buttonhole st iteh which serve the dual
purpose of securing the shape to the
foundation and preventing the pieces
from fraying. Insugarcrafr there <lre
obviously no problems with fraying so
the pieces can simply be stuck cothe
foundation. If the effect of embroidery
isdesired, a mock edging st ltch can be
piped around the pieces cocomplete
the figure wiih one of the following
stitches.
Straightot'erCasting Basicbutconholestu d:
Step,.&y,.Step
Applique
(Lion)
4.
1.
Body stuck to base. Legs moistened and laid in
position on top. Add mane and ears. 2.
120
3. Addnose, eyesand muzzle.
4
Addblack eyebrows, black
noseand pupilsof the eyes.
5.Paint black detail.
121
'
122
Bells
The bells arecut fromsugarpaste and
the flowers and ribbons are made from
finely rolled flowermodelling paste.
Rowers are shaped bypressinginto a
foam pad and completed with piped
stamens. Decoration on bells ispiped
with No 0 tube.
Bird
This isa gooddesign fora child's cake.
AnycoloursC3(l be usedto fita theme.
The small details are piped.
Pink and White
Floral Design
This consistsof variousshapescut with
petal and leafcutters and laidout to
forma pattern. Some of the petalshave
been cupped with a ball tool to add
further interest.
s
Thi:
SUg<i
con
and
deer
mus
fom
c
S
mockingis a technique traditionally applied
to clothing and used for holding the fullness
Smocking of the fabric in a decorative manner. Once the
material is evenly gathered, a variety of stitches
can be used for decoration
This method ofsmocking with
sugarpaste isas near as possible to the
conventionalsmockingof thin fabrics
and itsonly function isthat of
decorat ion. It isa painstaking task as it
must be neatlyand evenly tucked but it
forms averyartractivecakedecoration.
EQUIpMENT
Cake covering fondant mixed half
and
halfwith flower modellingpaste.
Cocktail sticks
Scalpel
Method
To form the basicgathers, rollout the
paste verythinl yon a lightly
comfloured (comstarched) surface.
Cut a straight stripabout Bcm(3in)
deepand twicethe width of the
finishedpanel. Ifyou requirea very
longstrip togoall round a cake, this
will have to be made up from several
panelsbutted together.
Placeone cocktail stick under the
stripof pastemakingsure that it is
straight, the next stick islaidon top,
veryclose to the first. Carry on
alternating the sticks, pressing them
close until you have the width you
want. Allow to set forabout fifteen
minutes.
123
MeanwhiIe, cut a stripofsugarpasre
to the width and depth requiredforthe
finishedpanel. Remove the cocktail
sticksand laythe ridgedstripcarefull y
on the moistened strip of the base.
Adjust the gatherswith a cocktaiIstick
if theyhave become disarranged.
With a rulerand scalpel, usingthe
minimumof pressure, cut the top and
bottomedgesstraight. Panelsshouldbe
arrangedon the cakeas soon asthey are
manageable, beforethey arecompletely
dry. The panel is then readyto be
embroideredin a varietyofstitches.
Some of the traditional stitches pull
and distort the tucks. Ifyouwishtoget
thiseffect. plan the designand gently
pull the tucks into shape beforedrying.
Step-by-Step
Smocking
1
Cocktail sticks placed alternately
on top and underne ath paste,
pressed together to form folds.
2
Gathered strip of paste ready to
bestuck onto base.
124
3
Gathers ate stuck to the base
and the top and bottom edge
has been trimmed.
4
Smocking completed in a
traditional design showing
ou tl ine and rrelIisst itch. These
srirches do not cause disrortion so
gathers have been allowed to remain
straight.
5
The usual edge for smocking is
a frill as this is naturally formed
at the end ofa band ofsmocking
where the fullness of the material is
released. Here a (rill has been made
and attached to the smocking. The join
isoverpiped wi th a smocking stitch.
Stitches shown
on Plaques
1. VandykeStitch.
I
I
I
2. Honeycomb Stitch.
3. Surface Honeycomb Stitch.
125
T
his cake combines the techniques of bas
relief and applique. The design was traced
Bird Cake
and transferred to the top of the cake.
126
The branc h was piped first wit h NoZ
tube. The birds were cut (rom white
sugarpaste , fixed in place and
modell ed by the bas relief method.
Any t ype of blossom cut ter maybe
used for the flowers as long as it is
large enough to be in sea le with the
rest of th e picture. No attempt has
been made to make the flowers
reali sti c. the aim is to achieve an
overall decor ative effect. The flowers
have been shaped by pushing them
into a pad of foam and allowing the m
to set before sticking with a little royal
icin g. The birds were co loured by
brush ing lightly wit h black and blue
blossom tint mi xed toget he r with
cornflour (cornstarch) and wing and
tail tips painted wit h diluted brown
co louring. All th e leaves were shaded
with a darker green mixed with gum
arab ic liquid to give depth.
The base of t he cake has a straight
single flounce. Ivy leaves were
attached in an irregular Iine and the
stems pi ped in to fini sh.
Forillustration ofthefinishedcakesec
page 1/5.
o
o
00
O(
<
Bas Relief
127
Applique
b No
0 Fool
Eyes
00
128
Templa!!
M ~ k
.
OEmoO
Templatesfor illustrated inlhis lessun
129
Tempkllc5 fordC5igll5 illU5tToted in thi51e55011
130
LESSON 11
Filigree
,
:
,
:
'
F
iligree is a most useful form of
decoration, which can be used to produce
Filigree extremely intricate patterns. It can be used
in its own right as a covering over a coated
cake surface, or used to make a variety of
models and decorations.
Filigree as its name suggests, should
be fine, delicate and lace like. For this
reason, filigree is normally executed
using fine writing tubes No 1, NoO
and NoOO.
Use freshly made royal icing that
has not been overbearen, air bubb les
can be a nuisance when piping with
such fine tubes. Smomh the icing out
using a palette knife on a clean flat
surface, this wi 11 ensure the icing is
lump-free. For shaped or formed
filigree pieces, a pine h of cream of
tartar in the icing will make a more
solid finished item. If you intend to
pipe filigree over shapes to be
removed when dry, lightly grease the
mould with a light whitefat. The
finished item can then be warmed
gently to soften the grease and ensure
an easy release.
Try to avoid rnaking 1ace and
f 1igree work on a damp, min y day or
in a steamy kitchen, the icing isso
fine and fragile that any trace of
moisture or hum idit y wi 11 hinder your
work and delay the drying time of the
icing. Remember also to take care to
store the finished items in a dry place
otherwise the filigree will collapse.
Probably the most difficult part of
f Iigree work isremovi ng the finished
pieces from the waxed paper, so
always make plen ty of spares.
Piping Filigree
An easyexerciseto beginwith isto
drawout a shapesuch as a circleor a
squareontOthin cardor a usedcake
board. Practisepiping fi1 igreeusing the
outline as an edge to workto. Use
coloured royal icingthat willshowup
welland aid your practice. Use normal
consistencyroyal icingand a fine
132
writing tube such as aN01 or NoO.
Hold the tube light!yagainst the surface
to be decorated and apply pressureas for
general pipi ng work, then as you pipe,
move the bagand rube fromsideto side
and up and down to create a can tinual
line of irregularshapes basedon the
letters 'rn' and 'w' in a continuous
srring. Ideallywhen frnishedyoushould
not be able to see the beginningand
end of your piped 1ine,
Buttercream Filigree
00 not think of f Iigreeas decoration
produced with royal icing only.
Buttercrearn isan ideaImediumfor
pipingfiligree. The easiest wayto apply
burtercrearnfiligreeto a buttercream
coated cake isto first chill the coated
cake. This chill ingwiII create afirmer
surfaceon which to pipe. The cream
usedforpiping em be warmedsligluly
in a bowlover warmwater, this will
help towards pipi ng smoother lines.
Use a No 1 rube.
Using Templates
Now cut out a simple template such asa
crescent shape, usethis for further
practice. Templates can be very useful
on actual cakes when piping filigree
patterns, youcan experiment With
them on cake tops and sidesto produce
many interesting effects.
Coa
and
coul
butt
base
sera]
decc
pipe
strip
chill
line
pape
pipit
thid
ware
thee
sma]
meln
sugar
pipec
St1
Preps
straw
Coat
straw,
scrap
Mark
using
cutter
sprinl
odin.
curter
Next
butte:
pipin[
the L'C
come
filigre:
butter
the wl
piping
andth
shells'
four su
rnouru
piped,
srrawb
Coffee Gateau
Coataprepared cake incoffee-coloured
andflavoured buttercream. The cake
could belayeredwith coffee
buttercream flavouredwith a coffee
based liqueur such asTia Maria. Comb
scrape the sidesor the cake, and
decorate the base with plain shells
piped inchocolate buttercream. Rest a
strip ofwaxedpaperon CO the top of the I:
chilledcreamsurfaceand pipe a straight
line against it, remove the waxed
paper. Usechocolate buttercrearnor
piping chocolate (melted chocolate
thickened with a fewdrops of cold
water). Pipe the filigree in one half of II
I
thecake. Decorate the other half with
I
smallchocolate drops, made by piping
melted chocolate on to waxed paper. A
'I
sugarpaste inscription plaque and some
piped Iinework complete the gateau.
Strawberry Cake
Prepare the cake bylayering wi tb
strawberry-flavoured buttercream.
Coatthe cake in pink-coloured,
strawberry-flavouredcream. Comb
scrapethe sidesand chilIthe cake.
Mark the cake top into four sections
usingthe backof a knife. Placea food
cutter in the centre of the cake and
sprinkle somesieved jap biscu] t crumb
orfinenibbed nuts into the shape of the
cutter, remove the cutter carefully.
Nexr pipestraight Iines of white
outtercrearn usinga 6mm (1/4in) plain
)iping tube. TIle Iines should start at
.heedgeof the centre dressingand
zorne out to the edgeof the cake. Pipe
;ligreein the foursections, usingpink
)lI ttercream. Now pipea wavyIine on
:he white buttercream lines using
sipingchocolate. Finish the top edge
mdthe basewith pink buttercream
ihells piped with a No44 tube. Model
our strawberriesfrom marzipan and
nount them on discsof chocolate ,
npedonto waxedpaper. Position the
trawberrvdecorations on the cake.
133
j
F
iligree can be used to good effect when
piped directly onto tulle. The tulle is so
Filigree
fine it becomes hardly noticeable against the
piped filigree, but does help to keep the filigree
together for shapes and formed filigree that
would otherwise collapse.
withTuIle
M
shapes from tulle. The easyway to do same time. Pin the tulle quite taut over
Filigree Casket
thisis to make a tracing of the shapes a drawing of the shapes using long.
Ade
Using the templates provided at the and place th isover the tulle, then cut glass-headed pins. A cake board is ideal Bake
end of the lesson, cut out the necessary through the pattern and the tulle at the for pressing pins int o. appe
cob
cob
Cho
edge
pipe
base
on rl
usiru
Nol
riblx

1
Pipe filigre e over the tulle with yellow royal icing
and a No 1 tube. Edge all shapes with straight
En
piped line s, and edge the curves with a tiny shell st ill
Coati
using a No} tube. Also make the semi-circle sec tion,
edge
ou t line the shape wit haN01 tube and flood in wirh
using
yellow run-icing.
a fine
colou
pink
the C(
and II
grcas
in cq
Pipe:
mark
Usi ru
-
loops
pipe ;
tim e
the fa:
the e:
insert
L34
2
Secure the longest of the two str aight pieces onto
a curved former to dry, a ring of plastic rainwater
piping is ideal.
When all th e parts are dry, assemble them as
shown, st icking together with royal icing. Small
pieces of poIystvrene may be requ ired to support the
sides un til dry .
4
Make an arrangernent of srnaII sugar flowers and
attach these inside the casket. You cou ld use
piped , royal-iced flowers as shown or cutter-type flowers
made from paste. Attach t wo lids as shown, leaving a
space between each. Edge the casket with a picot dot
edging piped in yellow icing using a NoO tube .
3
Mother's Day Cake
Adel ightfulcake for Mother's Day.
Bakeashallowcake to givethis modem
appearance. Coat the cake in cream
coloured royal icing and edgewith lilac
colouredshells usinga No44 tube.
Chocolate-coloured icing isused to
edge theshellson the cake top and to
pipe afiligree edgearound the coated
baseboard. Position the fi Iigree casket
onthecake top and pipe the inscription
usingchocolate-coloured icing and a
Nol tube. A narrowcream-coloured
ribbonand bowcomplete the cake.
, 1
135
II
Engagement Cake
Coat a cakein whi te royal icing and
edge with a shell bordercopand base
using a NoH tube. Edgethe shellswith
afine ropeusinga No 1rube with Ii lac
coloured icingfromthe top edge and
pink forthe base. Pipe ftl igreeto cover
thecoatedcake board usinga NoOtube
andlilac-coloured icing. Use a strip of
greaseproof (waxed) paper marked off
inequalsections around the cake side.
Pipe a buIbofwhite icingat each
marker, remove the paper template.
Usinga No l rube and lilac icing, pipe
loops fromeach dot , allowto dry. Now
pipe ad eeperloop from each dot, th is
time usingpink-coloured icing. Attach
thefiligree ring casket and complete
thecake wirh a directly piped
inscription .
I
I
Engagement Ring Casket
1
Prepare the runout sections of the casket using
the templates provided. Outline in white using a
Nol tube, flood with white run-icing, allow to dry.
3
Roll out some sugarpaste or flower paste.
Cover half a table tennis ball with paste, allow to
dry, then pipe pink filigree all over dome using a NoO tube.
:"
5
Pipe pink filigree over the assembled dry casket
using a N00 tube . Roll ou [ some pi nk sugarpasre
approx, lOmm ( 1/ 2in) thick and cu t out a disc as shown.
Pipe a small bulb of icing into the base of the casket and
position the sugarpaste di sc. Wh iIe the sugarpaste di sc is
still soft, insert a coyengagement ring at an angle as
shown.
2
Pipe small squares offiligree [hen place runout
section over rhern, lining up with heart-shaped
cutout section. repeat in all sections.
IT
c:
p'
LL
4.
Assemble the runou [ sec nons as shown using
small pieces of pol ystyrene to support unti Idry.
Attach the domed lid to the casket with royal
6 icing and support with a sma II piece of foam
sponge until set. Decorate the casket edges and the
dome with a picot dot edgi ng. A piped tlower on the
dome completes the casket.
pi:
to
fili
iei
en
as
ms
he
bal
art
136
3
Filigree Cradle
1
Using the same method as
described for the tulle casket,
make the necessary pieces for the
cradle asshown using the templates
provided.
2
Shape the baseof the cradle
overa curved former. The
picture shows a cardboard tube taped
toaphotographicsIide box.
3
Assernble the sect ions of the
cradle as shown, edging the
filigree with a tiny pink-coloured
icingshell. Line the insideof the
cradle with cotton wool and place on.
asmall ba11 of flesh-coloured
marzipan or sugarpaste for the baby's
head. Rest the filigree cover over the
baby. Afewbows can also be
attached.

(.
,
I ~
."
I
137
138
Filigree Christening
Cake
Collarscan alsobe producedusing rhe
filigree or netting type method of
piping. Here we see top and basecollars
used in conjunction with the filigree
cradle. Thisgivesthe cakea very
delicate appearance.
Mak
Using the templates provided trace
dID\\
out the designs and secure to a work
worl
board. Cover the design with waxed
waxe
paper and pipe trellisor netting as
usin
shown. Stan bypipingthe outline
Nex
shapeof the collar and then fill in with
part
the netting. Edgethe topcollarswitha _
picot dot edgingasshown. Using the
rosr
rod
drawingprovided, cut out a templateto
orar
assist in pipingthe lineworkdesign.
cent
the I
six fI
piec
ave]
m a ~
bert
bod
1
oft
-
.......
of
Filigree
Wedding Cake
Make the trellis piecesfirst. Trace the
drawing provided and secure to your
work board. Cover the designwith
waxed paperand pipethe outline first
usingaNol tube andwhite royal icing.
Next pipe in the trellisand flower
pattern. Overpipethe trellisand flower
tostrengthen the piecewhen attached
tothecake, the flower isoverpiped in
orange-coloured icingwitha darker
centre bulb. You wiIIneed 24 piecesfor
the three tiercake, sixforeach tier and
six for the top ornament, \Vhen the
pieces aredry, tum them over and
overpipe them in white icing. Th is
makes themmorestableand looks
better whenthe piece isviewedfrom
both sides.
1
Cut a length of drawi ng paper to fit around the
coated cake, the paper strip should be the he ight
ofthecake side.
2
With paper strip flat, measure length of paper .
Divide into six equal sections. Mark measured
sections on each side of paper, then draw a line across.
4
Carefully cut the shapes to produce the template
as shown. Secure to the cake with masking tape
and commence piping the linework.
3
Make a tracing of the Iinewark shape from the
appropriate drawing and repeat the design in each
ofthe six sections.
139
,.
140
5.
A runout disc isalso requ ired
for the cop ornament base.
6
Prepare t empi ares (rom the
drawings provided as shown
and secure them to the cake with
masking tape . Pipe lines on the cake
top and side as shown using a N02
tube and white royal icing.
7
Remove the rrellis pieces (rom
the waxed paper and attach [ 0
the cake sides, A small stlk, pasteur
piped flower and ribbon arrangement
is attached to the cake with royal
icing in each of the six side panels.
For the ell ke top ornamenr, attach six
trellis pieces together on a round
runout disc, and insert a flower in
each space between the pieces.
Filigreo
_
I
I
L
Filigree Wedding Cake
Side Unework Template
20cm (Bin) Cake
I
I
I
I
I
I
I
I
I
I
Join here I
I
I
I
I
I
I
I
I
I
141
Tl?P
15(. "'711(6in) Cake
PiI)e Flower in Orange
J
Middle
20cm (8in) Cake
Base Tier Side LineUiork
Filii
n
Middle T ierSide Linework
TopTier Side LineUiork
Filigree WeddingCake
142
EngaKemell1 RingCaskel
Sides- make 4
Base Top
Q
FiligreeCradle
I
Diamelt'T of curved
farmer required
R!t!1OUI Base
Cradle End
Filigree Lid- Make 2
Mother'sDa)' Casket
Canopy Insert :..make 2
-1
Cuulle-Curvc over Former Cradle Base
Thisside slraighl
Filigree Side Panel - Drystraight
Filigree Side - Drycurled over Former
143
- --,
/
/
/
/
/
/
/
/
/
144
LESSON 12
Advanced
Figure
Piping . 1
~
,
,
F
igure piping is one of the most frequently
executed and certainly one of the most
]
fascinating aspects of sugarcraft. Scope for
the use of figure piping is endless. and is seen
featured on cakes for every and any occasion.
Advanced
]
Figure Piping
Figure piping is particularly useful for
original motif cakes, when few, if any
of the available standard range of
decorations are suitable. A figure to
depict an occ asion or celebration can
more often than not be found and
used as a centr epiece or as part of a
scene or visual theme decora tion, For
years now, the art of figure piping has
been used to adam celebration cakes
both commercially and by the
enthusiastic cornpet itor and
exhibitor. Nearly every sugarcrafr
competition features classes with
cakes requiring or bei ng suitab Ie to
incorporate a piped figure of some
kind, particularly so in birthday and
Christmas cake classes.
Every sugarcraft artist can use
figure piping in their cake decoration,
from the novice to the more
experienced decorator. Each time you
produce a figure you will no doubt
become more experienced and
adventurous, eventually making the
most cha Ilenging and intricate
designs and allowing your
imagination to develop new and
wonderful ideas for figures.
There are two rnain types of figure
146
Th
figl
usc
f n :
stif
!\)r
wa
VOl
is p
the
the
I
H
1
as 51
1001
the
line
wax
con:
rod
2,
pi ping - pressure-piped and freehand
the.
runout. The two styles may be used
pipe
separate Iyor they can be used
t o di
together to good advantage; pressure
the 1
piped figure piping is probably not
as de
used as much nowadays. except
hull
comrnerciallyfor simple, quick-to
the I
pipe figures to give a hand-made
fearl
appearance and personalfinish to
bulb
decorated cakes. The most popular
usin
freehand piped figures used today are
prep
the love birds seen on runout collars
b o d
and on side panels ofwedding cakes.
the s
Such work isalso ideal for children's
shap
bi rthday cakes.
each
Pressure-piped
Figures
The technique for pressure-piped
figure piping differs rotallv from that
used forrunout figure piping. Use
Iresh, wellbeaten royal icing, not too
stiffbut able to retain its shape when
forcedthrough the piping bagonto
waxedpaper or the surface medium of
yourcoated cake. A fresh, light icing
ispreferred, as it will respond easilv to
thepressureput on it byyour hand on
the piping bag. Th isconsistenc y of
ICing will produce bold shapes
withou t the need for out! i nes, and
can therefore be quickly built-up to
form half-relief and full-relief figures.
The main technique involved with
free-hand figure piping is the amount
of pressure used to control the flowof
icing from the piping hag onto the
waxed paper or cake surface. Three
quarters fill your piping bag with icing
and neat! y fold over the copof the bag
to retain the contents and prevent
seepage of the icing. The choice of
piping tube will depend upon the size
of the figure to be piped and the
amount of fine detail required .
The following photographs and
instructions show various figures
piped in stages for you to follow. Once
you have mastered these, it should be
possible for you to develop other
variations of your choice.
Birds
Half,relief Birds
1
Using a No t tube, pipe left find
right wingsonto waxed paper
asshown. Use a side- to-side
movementwhen piping to buiIdup
therequiredshape . A couple of pencil
lines drawn on paper beneath the
waxed paper will help to achieve a
consistentsize. Allow the piped wings
todrv.
B
irds are a popular feature on wedding
cakes. They are easy to make either in
full- or half-relief.
2
Buildup the body of the bird.
This can be done directly on
thecakesurface or the birds can be
piped onto waxed paper and allowed
todrybefore using as required. Pipe
thewingfirst, using the same method
asdescribedpreviously. Next pipe a
bulbous body using a No2 tube, taper
thebulbasshown. Pipe on the rail
feathers using a No J tube. Now pipe a
bulbforthe head. chen add a beak
usi ngaN 01 tube. Finail y insert a
prepared, dry wing into the still soft
body and position as required. Using
thesamemethod, but reversing the
shapes, you can produce birds facing
eachother.
147

T
he stork is an ideal motif to make for birth
or christening cakes. The bow-tie colours
Stork are used to reflect the sex of the baby.
The stork is piped in TIl uch t he same
manner described (or the swan, using
aN03 cube for the neek and body.
The wings ar e piped using a No2 rube.
Pipe the beak wirh orange-coloured
icing using aNo I tube and the legs in
a coffee-orange co lour again using a
Nol tube. A bow- tie may be piped on,
waxed paper and attached to the
stork. The template provided will
make piping the stork eas ier for yOll
simply trace into position on the cake
surface or plaque. When proficient,
the template will not be required.

The stork isa favourite mot i f for
christeningcakes.
Here the sto rk motif is presented on a
sugarpaste plaque edged with royal
icing, useful as a prepared decoration
for the top or ifmade smaller, for the
sides of cakes.
t
Ii
1I
b
p
F
f(
b
b
148
l
i I
Duck Birthday
Cake
Herewe see figure piping put to use as
part of the decoration of a royal iced
cake. The cake is coated in cream
coloured icing, and dried. Makea
scallopedtemplate from cartridge
paper and position as shown on the
cakeside, secure the template with
masking tape. Apply blue-coloured
royal icing ro the cake side exposed
below the template and coat smooth
Duck
Usean orange-yellow icing and a NoZ
tube and pipe the head, neck and
front of the body in one operation,
using various pressures on the piping
bagto create the required shape. Next
pipea pear-shaped body as shown.
Pipe the Same shape again, smaller to
form thewing.
Finally pipe on the beak with
bright orange icing. A chocolate or
black eye cornplet cs the duck.
using a palette knife or side scraper.
Remove the template and coat the
cake board with the same coloured
icing. Pipe shell borders in cream
coloured icing using tube No 44. Edge
the scalloped water frieze and the
shell borders with blue icing. Using a
No1 tube and chocolate-coloured
icing, pipe dots on the top border
shells. a wavy line on the cake board
and the inscrrption. Attach prepared
piped ducks to the cake side with
royal icing. The candle holders are
made by cutting sugarpasre wi rh a
II
petal cutter and fanning in curved
fruitt raysor clean pol ystvrene egg
boxes. Allow the holders to dry then
I
attach them to the cake and position
a candle in each.
149
I
T
his second form of figure piping is used
extensi vel y nowadays by al most every
Runout
sugarcraft artist. It is frequently seen in
several classes of com pet i ti ve sugarcraft, and
can be suited to any occasion providing plenty
of scope for new and original ideas. Figure Piping
Runout piped figuresare norma IIy
produced on waxed paper to be peeled
offwhen dry, the figure is then placed
direedy onto the prepared cake
surface or on to an icing or sugarpaste
plaque. Th isdoes not mean that
every figure has to be made flat.
Figurescan alsobe made to take the
curved shape of a round cake side, by
producing and drying the runout on a
curved former of the same diameter
(or curve) as the cake on which it is to
be attached.
A few things need to be considered
before actual production of the figure
can commence.
Selection of Motif
Suitable figures and animals for
possible use as runouts can be found in
most ch i ldren's an nuaIs, on greet ing
cards and on gift-wrapping paper.
Beforesuch figurescould be used
commercially, full permission would
have to be obtained from the
copyright owner. 1fan the other hand
youprefer to be more creat ive, you
could use various ideas and put them
togerher to create your own mig ina I
figure or motif. The main point to
reruember at thisstage isto choose a
figure that you can execute
reasonably well, do not select a really
intricate design ifyour piping and
runout skills ate limited. It isfar
better to choose a simpler figure that
you know will be easy to reproduce.
The Correct Figure Size
Having seleered the figure or anirna I
of your choice the next stage is to
ensure that it will comfortably fit in
the space allocated for it on your
cake. Sometimes you may have
figuresthat youhave usedpreviously
for another cake and wish to reduce or
enlarge for further use. Or it may be
that you have seen a figure you want
to use butit does not fit on your cake.
See lesson 9 (page 109) for details on
methods of enlarging and reducing
designs.
An alternative method to those
already suggested would be to invest
ina p,lntograph. This implemen t is
usually plastic and consist sof a
painter which is used to follow the
outli ne of the originaIdrawing, whi le
on the other end a pencil transfers the
Se
reduced or enlarged image. Again this
mavnot be economically practical, Thi s
the investment wiII obviously depend fonn
on the amount of design work you basic
intend to undertake. flooc
nmo
Interpreting Designs with
The basic idea of a runout figure IS onto
that an outline ispiped and the flaro
various sections of the figure with
separated. Into each section, run pape
icing is piped either in white, to be mask
painted when dry , or in appropnate In th
colours, again which can be painted figun
with further deta iI. The figures may color
val)' in one of four wavs, accord ing to run- i
the filling in and finishing whit.
techniques. the n
food
The types of figure piping are: semi TIle
relief, outline, wafer-thin and full calm
relief
. .
f
"; ...
150
Teddy Christening
Cake
The pink semi-reliefteddyisusedhere
asan attractive figure decoration for
this royal icedcake. Firstmakeseveral
runour sections for the borders. Using
the template provided, outline in white
royal icing using a N01 tube aod then
flood in with white run-icing. The side
designismade by piping Iinesof white
royal icingonto waxedpaper, the same
length as the depth of the cake side.
When the linesare dry. a pink wavy
line ispipedon usinga No I. tube.
A1tach the preparedIines to the sideof
a pink coated cake. Next 8ClaCh the
preparedrunout sections to the top
edgeand baseboard. Attach small
blossom flowers , made with a cutter
and pipedwith a tinycentre bulb. Pipe
Iinewark around the insideedgeof the
top runout sections, and to followthe
baseborder. Runout lettering
completes the cake.
T h e ~
in the
bow-i
01J.
A sim
introe
Outlii
the ca
sugarr
rcquu
surfac
figure
pipin!
celom
depet1
invol :
piper:
of the
Semi... relief
Th istypeo( figurepiping is the simplest
formthat includes flood work, it is
basicallyan outline with sections,
flooded in and allowed (0 dry. Forall
runout figureworkyou need costart
with a tracing of yourdesign, copied
onto cartridge paper and then placed
flat on your surface. Cover the design
with a suitably sized piece of waxed
paper and secure it to the board with
maskingtape.
In the (j rsr example shown the rabbit
figure isoutlined in a deep orange
colour and flooded with a lighter orange
run-icing. The eyesare floodedin with
white run-icing. When dry, paint on
the mouth and ear detail with brown
foodcolouring and a fine paintbrush.
The nose and bunons are pipedon with
coloured royal ici ng.
The pink teddybear figureisproduced
in the same W'dY with a separate nmout
bow-tieattached to the dried figure.
Outline Figures
Asimple but veryeffectivewayof
introducing figureson to your cakes.
Out! ine figures are pipeddirectly onto
the cake surfaceof royal icing,
sugarpasteor fondant. T race the figure
requiredonto the preparedcake
surface, usethe jollyJack-in-the-box
figure to experiment with. Prepare
pipingbags of royal icing in the required
coloursall with a No 1, 0 or 00 tubes
dependi ng upon the finenessor detail
involved. Using the prepared rubes.
pipethe outli nesof the figures in each
of the appropriate colours.
II
I
151
,
152
Wafer Thin
(
Th isisa very modem method of figure If:
piping which isnow verypopular. The co
aim is to ach ieve a really thin runour
figure, the thinness being dererrnined sh
bythe rube being used, inmost casesa cd
Not tube. pa
Prepare the drawing and cover with so:
waxed paper as before. Out line the pil
design with brown royal icing usinga pij
Nol rube, usea compound colour to fO!
achieve a rich brown without diluting nll
the icing consistency. Allow the flo'
outline to drya Iirtleand then flood in
each area with the appropriate colour of
run-icing. Extra detail can be painted
on when the figure isdryIf required.
Full,relief
Full-relieffigure piping isstarted in the
same manner assemi-reiief piping, by
outlining a shape on waxed paper,
With this method, however, each
section is piped in a different manner to
achieve a moredetailed figure with
definite modellingand roundness to
parts of the figure. Some pans, such as
those farthest away, for instance, the
main pan of the bodyon the teddy, are IE
flooded in flat. The arms, legsand ears
C
are flooded in a more bulbous folShion to
produce the necessary roundness. As 3 An
basicnile for Hooding procedure, flood deo
in the pans that appear farthest away, roy,
then build up the flood work, allowing usin
secuons to drybeforefloodingadjacent ina
sections. TI1e final parts of the flood pipe
workshould be those that appear frOll
nearest to you. ca]
A simple method to make the flood dire
worksequence easier isto number the
partsof the bodyon the drawingsbefore
floodingasshown. In thiswavyoucan
then floodall pans marked ' I" allow
them to dry then flood parts marked '2'
and soon until the figureiscompleted.
Full-relief figure pipingsequence for
teddybear mot if. usingone colour of
icing only.
Combination Work
If you runout the fi gure ina single
colourof icing as for the teddybear, you
can paint on extra fine detail and
shading once the figure has dried. using
ediblefood colours with a{me
paintbrush, Here we see a finish
sometimes referred to as built -up figure
piping. This is the use ofextra runout or
piped sections added to a bask figure to
form a builr-up motif, for instance, the
runour ri bbon and bowand the piped
flower and stem.
r
I
Teddy Birtlulay
Cake
Anattract ive hexagonal-shaped cake
decorated with pale blueand white
royal icing.TI1e runout collarsare made
usingthe template provided. outlining
inaNo1tube. The board linework is
piped usinga card template prepared
from the collardesign. Complete the
cake with a runout teddy figure and
directly piped inscription .
153
' - J
...
154
FlowerGirl
Th isveryattractive lirrle fi gure isuseful
for many occasional cakes. The figure is
basedon full-relief figurepiping, this
time flooding in with appropriately
coloured run -icin g. These types of
figurescan be runout onto waxed paper
and completed before attaching to the
cake. 'iXfhen you become more
proficient at figure piping youcould
execute the workdirectlyonto the TOY'll
iced or sugarpaste surface.
Notice howthe build-upof the dress
has been completed in stages, to allow
individual sections todry before
flooding adjacent sections.
The finished fi gurepainted with edible
foodcolouringand built-up in the form
of a bunch of pipedflowers and stems.
Teddy. Loti/-ReliefFigure
Base Border Runout Pieces
GirlFigure
Rabbit Low-ReliefFigure
Jack in the box
Top BorderRunout Pieces farPinkChri$ teningC,tke
155
FloodingSequence For FilII-ReliefPiping
Bow Tie
Sanla WaferThin Figure
5lOrk
Duck Birthday Cake
Wmer WaveTemplace secured to cake5idereeuJy
forapp!icacirm of "lueicing.
I
/
RUJlOlit CollarforTeddy Bear Birtlulay CAke - make! 6
156
/
/
/
LESSON 13
Advanced &
Freestanding
Runouts

H
aving now mastered basic and .
intermediate runout work, and gained
an understanding of the characteristics and
Crown
possibilities of this work, more advanced
runout work may now be tackled.
Ornament
158
1
Using the drawings provided,
t race them o nto cart ridge
paper and secure to your work -board.
Outline using a No I tube and whi te
icing and flood wit h white run -icing.
Make six runout pieces and allowto
dry. Using the same template again,
place waxed paper over and pipe a
scalloped net filigree pattern as
shown using a No1tube. outline (he
work with the same tube and
immediatel yplace a prepared runout
section onto the net work and gentl y
press to attach the two together.
Repeat on all six sections and allow
to dry. AIso make a runour hexagon
sha pe using the drawing provided,
th is will form the base of t he crown .
2
For the point s of the crown,
cutout sha pes from tulle.
Trace the drawing prov ided onto
paper and place onto six thicknesses
of tull e, cut through the templ at e
and the tulle at the same time . Using
a drawing of the fuII ternplate, place
a piece of waxed paper ave r and
secure with masking tape . Securea
tulle shape with a few dots of royal
icing, then continue as for
convent ional runour work. Outline
in white usin g a No! tube and flood
in with white run - icing.
3
Place the shapes onto curved
formers made from cardboard
tubes as shown . Allow the runou t
shapes to dry, chen pipe a tiny shell
edging on the inside edge near rhe
tulle .
4.,
art acl
block
piece.
5.
can b(
icing.
the sal
the pc
using:
the jo i
6. ;
then pi
crown .
attach!
require
4
Assemblethe six side runout
sections and base as shown ,
attach with royal icing. Use small
blocks of polvsrvrene to SUpPO({ the
pieces unti Ifully dry.
5
Once the base formation is
dry, the poinrsof the crown
canbeattached, again using royal
icing. Blocks of polystyrene each of
thesamehe ight are used to support
thepoints until dry. Pipe a tinyshe II
using a No I tube as shown around
thejoinsand edges.
An arrangernent of art ificial,
6 silk, paste or piped flowers is
then placed inside the crown, the
crown is then positioned and
attached on the wedding cake top as
required.
159
D
ouble collars provide an interestingand
refreshing change to the conventional
]
Double
single collar. Ensure your drawingand
piping is accurate for double collar work, as
any ina ccuracies ar e exaggerated.
~
Collars
Use the drawing provided to trya
double collar. Your own designs can
easiIy be adapted to make double
collars. bydrawi ng in a second
out line . a small distance from the
original outl ine. To emphasise the
double collar. outline and flood in the
under collar with a slightly darker
colour th an that of the top collar.
Pink Celebration
Cake
]
A very detailedcake topdesign
requiring theuseof double baseboards
Ol
to balance the overall effect. Note the
Ill:
ell
double collarswith filigree overlays.
m:
Runout Collar
Fillers
The photograph showsfive variations
00 the basic collar section usedon the
2
Pink Ce lebration Cake. Thi s isanother
size
exampleof creative sugarcraft, making
srai
one basic idea work foryouwith severn]
pai
opt ionson decorativefinishes. TIle
templatesare at the end of the lesson.
1 Piped criss-cross lines
decorated with a piped flower.
2.
Piped filigree using a NoO or
Nol tube.
3.
Scallop edging piped usinga
Nol tube then overpiped ,
4 Line and dot. Using a No l tube
pipe the lines first and then
3
pipe in the dots .
all t
5
roo
Scalloped net fj ligree piped frar.
usinga No l tube.
Nol
160
T
he runout church is ideal for a Christmas
cake decoration Or made in white icing and
Runout
left unpainted would make an unusual
ornament for a winter wedding.
Church
1
,
1
Make remplates lOT all the
sections of th e church, then
out!i ne and flood j n all shapes to
make runout pieces. Notice how the
d ockface is (looded with icing to
makepainting derai I easter.
2
\X!hen the runout pieces are
dry, attach pieces of tull e cut to
size on the back of each window. For
stainedglass windows the tulle can be
painted with food colouring.
Using edible food colouring,
3 paint the brickwork derai Ion
all the church wallsand the two visible
roof sections. Outline the window
frames with brown royal icing and a
NoOtube.
L6L
162
i
(
4
Assembl e the church, using
royal icing and supporting the
sect ions with polystyrene blocks until
dry.
1
Prepa re a sugarpaste plaque in
pro'
5 an ova l shape. A tlut ed edge
looks attract ive as shown, use a large
ova l food cutter or make a template
from card. Brush the plaque with
softened royal icing , leaving a section
dear for the inscript ion.
ModeI a fewsmall trees fromgreen
marzipan . Ma ke cone shapes from the
marzipan and snip th em with small
scissors to make branches . Brush with
icing to represent snow.
2
Attach the church and brush a
wh i
little softe ned icingon to represent
the
snow. Whil e th e icing is sti II soft
Floc
sprinkle with granulated sugar to give
icin
a frosty effect.
at t n
whi
jJ
floa
3,
Anniversary
Cake Ornament
1
Make rworunout shapes as
shown, using the drawings
provided.
2
Makethe runout numerals.
Outline the numerals wit h
white royal icing, allow rodry. Paint
theoutlines with silver rood colour.
Flood in the numerals wit h white run
icing. TIl is technique creates
attrac tive figures wi rh si lver edges and
white cen tres.
Assemble the ornament using rhe
floatingcollar techn ique.
3
FloatingCo llar Anniversary
Ornament.
163
Floating Collar
Anniversary Cake
1
Make the top and base collar
using the drawmgs provided.
Coat the cake in white royal icing.
111ecake I Spresen(edon a JQUble cake
board. Com the cake and lxlard I n the
convent ional manner. then attach the
cake and board to a second 1x'(lrcl2.5cm
(1in) largerthan the first board. Fill the
space between the boardsand smooth
flat <It <In angle from the board to the
other usinga side scraperor palette
knife.
I
2
.
Make (our runour overlays and
1
then pIpe blue (j Ilgree Onto
waxed paper as shown. PI"ce the dry
runout sect ion over the fi ligree and
b
attach with a gentle pressure.
1
~ J
w
o
3
tI
Place about eight wooden
tl
blocks of even SIze (smooth
edges and corn ers with sandpaper to
ensure easy release ofblocks) around
the cake board then place the base
collar over the cake and rest On the
blocks . Pipe a line using a No) tube
on the cake board directly beneath
the collar edge. follow the shape
exactly. This can be done before
placing the base collar on, using a
template as a guide. Now pipe lines
from the base board up to the collar
edge 3S shown at regular intervals, lise
Cll
an
a No I or NoO tube. Pipe at intervals
around the base, allow these first lines
co
of
to take the weight ofthe runout
an
collar. The blocks can then be
flo
removed and line piping completed.
cal
- .
""'"
164
T
his stu0 ning 25 thAnni ve rsary ca ke uses
many sugarcraft techniques, the main
feature being the floating collars.
4
Using a ruler resting along [he
cake side, scratch <I stra ight
line onto the cake side usin g a No 1
tube. Pipea straight line along the
insideedge of the base collar. Allow
tllese IInes to dry, then pi pe lines from
the side line down onto the collar as
shown, again at reguhlr mt er vals
using" No I or NoOtube. Finish with
a tinypipedshell along the straight
lines. Att ach the cop collar .
5
UsI ng prepared blocks orwood ,
shaped at an angle, place a
blockon each corne r of th e top collar.
Th en position the prepared sh ield
shaped runout overlay pieces on the
wooden blocks. Again pipe a few lines
DIl each side to support the ove rlay,
then remove the blocks and conti nue
the line piping.
6
Pipe a tiny picot dot edging
aro und rhe edge of the top
col lar. Then pipe 3,2, 1, lmework
around the inside edge of the top
collar and following the outside edge
nfrhe base Iineworkshape. An
arrangemen t of ribbons, bows and
fl owers at each comer completes th e
cake.
165
Base
Back
0000
Side
D D
o
o
TowerSide
o
TowerFront
Front
Roof
D
TowerRoof Doors Porch
Tem/J!ue for Runollt Church
166
I
PinkCelebrationCake
Ot1crlay Make 4
Undercollardarkt.>r J)ink
CerasepeceTop
ScailopUne
Trellisand Flower
ScallopedNel Filiwee
167
CerurepicccBlSe
T op
Poinr.s - Make6
--.J Sides - Make6 '-
168
RtIIIOU! frrr FlomingCollaLl
TO/ICnllm
Runouc far Corners- Make 4
r---- --- - ---- --,
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I I
I I

169
Makeone in whiteforWedding Bell
Dr in green for Festiw Bell
for Festive Bell andWeddingBellsOmament
Wedding Bells Base
Festive Bell Base
RunoutSupport for FestiveBell
Holly InsCTtfr./T Festive Bell
RunoutChristmas Scene- Paint when dry
170
LESSON 14
1- ntroduction
to Sugar
Flowers
S
ugar flowers give the finishing touch to
any celebration or wedding cake whether
Equipment
arranged in a very simple form or in an
advanced spray.
Equipment
The equipment used for making sug..r
flowers is quit e specia lized and is in
add itio n to the basic cake decoranng
equipment. Asewing, fishing or craft
box is ideal for storing thi s equipment
as you will collect agreat number of
sma11 i rernssuch as S( :Jmens <loll
cutters whrchar e best kept together.
Anger tool
Use for opening the throats of flowers.
Confectioner's glaze
This is a special hquid which givesa
shine to leaves and flowers.
Cutters
There isa vast selection of petal and
leaf cuttersavailable.
Dresden pewter tool
Thi s is useful for crealing special effects,
such <IS getti ng the Ti ght ti It to the large
petal of a pansy.
Floral tape
Use this for covering wires and for
assembling sprays.
Foam rubbe r
Manydecorators workOver a large
square of thi ck 103m rubber so that if a
fl ower getsdropped I r does not sharter.
Srnaller pieces of fCwn are needed for
ejectingcutter flowers. for lifting and
shaping petals and for prorec(ion whiIe
transpornng (jnished sprays.
Glass-headed pins
These have a varietyof uses In cake
decorating. In fl ower modelling, t hey
can be usedlike ball toul s forsmall
petals.
Leafformers
Rubber veinersdesigned for the pot rerv
industrymake realist ic sugar leaves.
Pliers
Use small long-nosed pliersfor hending
wire and electrical piiersfor SI ripping
wire.
Polystyrene block
Use this for holdmg the flowen, before
the yme wired inro sprays.
Ribbed tool
- Use for finger fl owers.
Ribbons
All sugar flower sprays contain nbbons,
Very n(\ITOWones are best for this, and
for ribbon insertion and banding.
Wider ribbons can be used rncover
cake boards.
Stamens
These come in manvdifferenr shapes,
sizes and colou rs,
172
var
to f
tha
ano
the
con
anu
~
a
n
2
I
I
~
1
1,\
r
Sift
(COl
dun
trag
carl
T'lpe shredder
mix
T h i ~ is useful for cuttmg the fl oral tape
wat
in to narrowstrips.
and
[;
Tweezers
and
Fine-pointed crank-endedcraft
nve
tweezersarc best for delicate work.
I,
and
Wire cutters
be tc
Use for cutting the florists' wire, or keep
of sl
a pair o(floristryscissorsspeciallyforthe
stir
job.
lat.
'J
Wires
tab
A selection ofcovered florist wirein
wac.
different g,1Ug CS isneeded. Usc tine wi re
mix
for small fl owersand heaviergau,t.:1.' l()r
oth'1
13rge fl owers. Fine rose wireor fuSt, wire
Ad
isuseful for wiring together sprays.
whi
Flower Paste
Allof the moulded flowers in this book
have been made using this recip e for
flower paste. However, there are many
variations on [his recipe, soexperiment
to fi nd one which suits vou. Remember
that flower paste IS affected byclimat e,
and ifyoulive ina very humid place,
then you may need to add more
cornflour(cornstarch) and reduce the
amount of icingsugar.
4Z 5g (14oz/3 Vl cups) icing
(confectioner's) sugar, sifted
60g(Z ozJl!4 cup) cornflour
(cornstarch)
15ml (3 teaspoons) gum tragacanth
Ot
IOml (2 teaspoons) gum tragacanth
and IOml (2 teaspoons) carboxy
rnerhylcellulose
25ml (5 teaspoons) w id water
10ml (2 teaspoons) powdered
gelatine
l Srnl (3 teaspoons) white fat
(shorrening)
IOml (2 teaspoons) liquid glucose
white ofone largeegg, srri ng
removed
Sifttogether the SUg<lT and cornflour
(cornstarch) In the bowl of a heavy
dutymixer. Sprinkle over the gum
tragacanth, or the gum rragacanth and
carboxymethyl cellulose. Place the
mixerbowlover a large pan otbolhng
water. Cover the top with a drycloth,
andthen with a plate or cake board.
Purthe water in a small glassbowl
andsprinkle the powdered gelatine
over it. Leave to sponge.
Halffill a small saucepan with water
and placeover a low heat . Bring [Q just
below the boiling point. Place the bowl
ofsponged gelatine over the pan and
stir in the liquid glucose and the whit e
fat. Stir until the fat ismelted.
\Vhen the icing sugar feels warm,
takethe bowloff the pan of boiling
water, drythe bottom and place on the
mixer. Remove the beater fromthe
other pan, dry and assemble the mixer.
Addthe gelatine solution and the egg
whiteto the sugar. Cover the bowl with
a cloth, and tum the mixcr to the
slowest speed. Mix until all the
ingredients <Ire combined and the paste
isa dull beigecolour.
Tum the rru xer to maxi mum and
beat until the paste is white and srnngv.
TI1is will rake5,10 minutes. Remove
the paste fromthe bowl and place in a
clean plastic bag. Place the bag in an
airtight container and refrigeratefor <It
least 24hours before using. Ifplanning
to store the paste for a fewweeks, put it
in four or (j ve small bagsand open one
at a tirne.
To use the paste, cut off a small
piece, add a smear of white (at and dip
into some egg white before working.
The warmth ofyour hands wi II bring
the paste to a workable. elastic
consistency. Remember that the paste
dnes out very quicklv, sokeep it
covered at al l runes and never cut off
more than a very sma ll piece. Certain
colours, parncularlvreds and violets,
maychange the consistency, so it may
be necessaryto add more whi re fat and
eggwhite .
Quick Flower Paste
Thi s paste iseasier to make, but the
(lowers will nor beasdelicare.
225g (80z) commercial sugarpasre
5ml (I teaspoon) gum tragacanth
white fat (shortening)
Knead the sugarpasre and gum
tragacanth together, addinga small
amount of whne far to get an elastic
consistency. Store and use as for the
previous recipe.
Hints and Tips
Flower paste and modelling paste arc
alteo ed bythe warmth of your hands.
Acake decorator with very warm hands
would need to use a slightly{inner paste
than someone with cold hands.
AIwayscolour pastes with paste food
colourings, not liquidones, which will
change the consistencyof the
modelling pastes. Add the colour using
the end of a cocktail stick,
[73
After colouring flower paste or
sugarpastc, put it in a plastic bag and
return it to the refrigerator (or a few
minutes. Kneading In the colour will
make the paste warm and stringy, and it
wiII be difficult to workwith.
Manycolours, particularly yellows
and reds, will deepen on standing, so
colour the paste a shade lighter than the
desired fj rushed colour.
An alternative method of colouring
flowers is to make them all white,
creamor a paleshade then petaIdust to
the desired shade when dry .
Pew] dust is a powdered food
col ouring basedon cornflour
(cornstarch), which can bemixed in
with the petal dust in smaII quan tities
to ontain a lighter shade.
Flower paste should be rolledas
rhml vas possibleso that the petals will
betranslucent and natural looking.
Paste can be rolled out on a thin film of
white fat (sbortenmg) or on a light
dustingufcornflour (corn starch).
Experiment to lind which one works
best for you.
When doing double frillingas in an
orchid throat or carnation, the paste
should be h g h t l y thicker than usual or
it will not frillsuccessfully.
I(usingcornflour (cornstarch) to
dust the worksurface, place it in a
square of butter muslin (cheesecloth)
tied ina bag, or use a pepper pot for a
miniature fl our-dredger.
Making
SugarFlowers
Take a small piece of paste , colour it if warm as cold paste isext remelydiflicult
required with paste food co louring. to shape. Roll our the paste usinga
work a little whirevegetable far and egg special small board and pin. Sprinkle
white into the paste until it is elastic the board with a light coating of
and pliable, and work until the paste is comflour (comstarch) to prevent the
5.
purp,
:r used
on sp
tool,
1
Sta rr tolling the past e on a light dusting of
lengr
comflour (cornstarc h). Check that it is
translucent, if you cannot see through the paste it is too
thick and requires further rolling.
7.
Tosoften petals for /lowers such as a sweet pea, wit h a
use a cocktail stick and gentl y rollover the edge of direct)
the petal in a gentle motion. This is a very different ti me r.
principle from frilling as for th e carnation.
paste fromsticking, but avoid using
excessive amounts or the paste wiIIdry
out and crack.
2
Place your cutter on the surface of the paste and
with your finger s evenl yover the cutter press
down to cut out the shape.
4
Cup the petals on a piece of soft, sponge rubber
usi ng a dog bone or ba II tool . The more pressure
you appl y the more cupped th e petal will become.
174
3
5
Petals and fol iage wiIIsornet imes ha ve co be
veined. The tool shown is made spec ially for th is
purpose but a cacktai Isr ick or porcupi ne qui II could be
used instead. As with cupping, veining has to be done
on sponge. Do not put too much pressure on the petal or
tool, but use a gentle st roking movement along the
length of the petal or leaf.
7
Many flowers have CO be frilled. Use a wooden
cocktail stick and frill the outer edges of the petal
with a firm rolling movement in a back and forward
direction, take care to keep the paste moving all the
time to ensure that it does not stick.
6
On most flowe rs, especia IIy pulled flowers,
cu t ting plays an important part in t he shape of the
flower. Although a small kitchen knife can be used,
better results will be achieved with a modetling or craft
knife. For instance, small cuts put along the edge of the
carnation petal prior to frilling.
8
Stick petals and attach to each other with fresh
egg white using a small clean paintbrush, but do
(lot Ieave til is in the egg white when it is not needed or
you wi11 appl y too much to the surface of t he paste. The
petal here is being brushed with egg white prior to
folding on to the wire of the carnation.
175
Making Foliage or
Individually Wired Petals
1
Take a piece of paste, squa sh between your
thumb and first finger and , using a pai nt brush,
handl e as a miniature roll ing-pm. Start roll ing the paste
ret aining a th ick part at the end near est to you. Then
roll from the left and right hand Sides in order to t hin
the paste evenl yall the WHy over , but leaving it thic ker at
one end.
2.
Cutout the leaf or petal . The base of the cutter
should be over the rh icker ~ H of the paste .
.,
]
thz
yOl
litn
son
isu
anc
the
qua
eva.
do t:
afo!
N O(I
3
Take a piece srzs. to J O-gauge green covered
wire in your right hand, dip the hooked end in a
little eggwhite. then pick up the leafholding firmly
bet ween the thumb and first finger of your left hand.
Pushthe wire into the leaf, the pressure ensures that the
wire goes in st raight and stops it from piercing through
the paste. The wire need s to go in about Srnrn (Y4 in).
4
Take the leaf an d place on a rubber or plasnc
vei ner. 111eo place on a piece of sponge rubber
and, using a veining tool , mark t he ce ntral vein to give
t he leaf more character. Vein on both sides.
2 ~
a sof
hom
creal
plate
rnix t
3.
the p
shou
st rok
of the
prine
have
edges
Colouring
Flowers
1
For certai n flowers you wiII
need a greater density of colour
than dusting alone can give. for these
you need to paint the petals. Mix a
little petal dust or paste colour wi th
some clear spirit (gin or vodka). Spirit
is used for chis purpose as it evaporates
and dries quickly and does not soften
the paste. However, mix on IysrnaII
quantities of colour as it too will
evaporate while you work. Here the
dots are being painted on the throat of
a foxglove using a plum colour and a
NoOO painrbrush,
To get a soft overaII effect on
2 your sugar [lowers you will need
asoft round N04brush. Here a
honevsuckle flower is dusted a
creamy-yellow shade; note how the
plate is used like an artist's palette to
mix the colours.
If a stronger densi ry of colour is
requ ired on the outer edge of
the peta Ionly, a short, firm, flat brush
should be used. Work with a gentle
stroking movement from the outside
ofthe petal to the inside. Using this
principle, the spray carnation can
have a conrrasti ng co lour on the peta I
edges.
177
3
178
4
Here a blackberryleaf isdusted
prior to varn ishing, again a
flat, firm brush has TObe used. The
copper colour is used to give a IiI t le
depth to the leaf and is brushed down
I
one side of th e leaf only.
~
There are several waysto
]
5
n
achi eve a shiny surfaceon
foliage. The method used here
empl oys a commereially avai lable
confectioner's glazeused in the
bakeryfor varnishing marzi pan and
chocolate for displaypurposes. It is
edible bur hasan unpl easant taste.
Brush the glazeo ver t he surface of the
foliageand stick the wire in a stand for
about 15 minutes t o drv. Two other
methods youcan use for shining the
surface of the paste are pa i nring with
gum arabic glaze, or the leayes maybe
held in the steamofa kettl e for a few
seconds. Thisgives a glossfinish but it
is prone to go ing matt in dampor
humid weather.
1
--'
its
I
Here con fecti oner's glaze is
6
L
being used on blackberryfruits.
Once you have finished usingyour
brush, clean in a spirir basedcleaner,
such as white spirit ordry cleaning
5
fluid.
leal
L
eaves may be made very quickly and
effectively using floris try tape. This
Daffodil
tape is available in a variety of shades and
may be coloured with dust.
Leaf
1
Cut a piece of wire approximately the length of Take the Ilori stry tape and stretch it, this opens
2. the leaf youwant, and (I slightly longer piece of up the tape releas i ng a glue so it sr icks to i rse If.
flori stTytape,
3
Placethe tape on the work surface, lay the wire
on to it and then bring the long end back on
itselfover the top of the wire.
4.
Now run your finger over the surface of the leaf
to stick the two sides together.
6. The finished daffodil leaf with its two cut sides.
5
Take a pair ofsmall sharp scissors and cut out the
leafshape. Th is isa daffodi Iso it isa long, rhIn
leaf with a pointed end.
l79
Here is a mimosa leaf made in the same way, but
8.
Continue unti I you have cut both sides and
7 it has a more regular leafshape. Take a pai r of achieved a feathered effect.
sharp scissors and make cuts at an angle up the leaf.
9
Twist the lea(in a spiral to givea Jdimensional
10.
Here the finished two leaves and a finished
effect. spray of mimosa.
; .
180
LESSON 15
Pulled
Flowers
H
and, moulded flowers are usually known
as pulled or finger flowers. They are the
]
easiest flowers to start with as little special
Pull
ed an
d
Finger HowerSqUiPmenliSneeded.
]
]
tll,
2
do'
ins
This lesson begins with pulled basic
blossom which is the easiest flower to
master and progresses to more
complicated flowers like the
snowdrop. The more difficult flowers
are featured towards the end of the
chapter so if you ha ve never made any
pulled flowers before, it is best to
begin with those at the beginning of
the chapter. Remember that the
smaller the piece of paste that you
begi n wit h, the srnaIler the fin ished
flower and t he more [idd Iy it is to
perfect. It is bet ter to sta rt off with a
larger piece of paste, perfect the
flower, then reduce down the size
rather than risk becoming frustrated
and disappointed working with tiny
petals. Making evenly shaped petals
and perfectly balanced flowers comes
with practice, and the more practice
you have the better your finished
flowers wi IIbe.
EQUIPMENT
Sharp modelling knife
Wooden modelling stick
Dowel or end of paintbrush
Modell ing tools
Petaldust
Paste food colouring
Wire
Floristry tape
Stamens
the
one
leru
182
3
Basic
Blossom
1
Take a pea-sized piece of
flower-pasce. chisshould be
thoroughlykneaded so that it is soft
and warm.
2
Mould into a small cone shape.
dip the pointed end of your
dowel into cornflour (cornstarch) and
insert into the thick end of the cone.
3
Takinga sharp modeIIi ng kn i fe
makefiveequal sizedcuts for
the five petals. The cuts should be
one-quarter to one-third of the total
~ l.---
lengthof the cone.
183
'
184
4
Remove the dowel andopen up
an
the flower by pushing your
pc;
finger into the centre.
Rc
COl
eac
wii
suf
spr
tht
Taking each petal in tum
en,
5 process bysquashing, pinching
fre,
and pulling .
tht
Youshould end up with a
6 flower wj t h f veequal petals,
bac
but remember thi s will only be
bac
perfected with practice.
fini:
9
7
Placeyourwooden stick back
into the throat of (he flower
andpull the petals up slightIy to
produce a niceshaped flower.
Removethe Stick.
8
Take apiece of 28 or 30-gauge
coveredwire. The wire usually
comesinpackswith long strands, cut
eachone into four to gl ve lengths of
wiresuitable (ormost flowersand
sufficienr to wirethe flowers into
sprays without being wasteful. Bend
thewire to make a small hook on one
end,dip the hooked end into a little
fresh egg white and thread through
thethroat of the flower, asshown.
185
9
Pulllhe wire through until it
sitsinto the soft paste at the
backofthe flower. Squash the Hower
backaround the wire. You now have a
finished blossom On wire.
:
:
:
:
186
Winter Jasmine
Colour some flower pastegolden
Ti
yellow, roll into a ballthen intoa long
int
thin cone. Stick your dowelinrothe
tl
thicker end of the COne. Cursixpetals
lin
and remove from dowel. Squash, pinch
eai
and pull each petal. Take apiece of
slij
3D-ga.uge covereddarkgreenwire,
28
make a hook and slidedownthe throat.
wll
Placea singlewhite stameninto the ch,
throat (refer to picturebelowfor
pal
positioning). To makethe buds, roll a
on
thin cone, stick the hookedwireinto
ov
the thin end, cut approxi rnately one
Re
third of the waydownwith scissor, and
cci
then [Wist the two pieces together like a
ed,
spiral.
CUI
TH
thti
Fit
Dl!
eel
att!
o({
spn
Finishing
Dilute somedark green, pastefood
P:
colouringwith clearspiritand paint
Co
calyxeson each of the flowers andbuds
col,
using asmall, fine paintbrush and leave
cor
to dry. Tape the flowers and buds in
a ck
clumps on to a pieceof 26-gauge wire
pet;
which then acts asthe mainstem.
the
Winter jasmine isa mostattractive
len
flowerto usein winter sprays and
wil
contrasts with the usualred and green
Christmas cake spray.
a cc
pet
gau
thn
asn
cen
sric
the
wh
pas
per
anc
the
the
Fill
Du
flO1
wit
are
are
Em
Daisy
Take asmall ballofwhi te paste, mould
intoa cone, pressa dowel into the
thickerend. Cut eight petals, andopen
Ill" theflower. Squash. pinch and pull
each petal then pinch each one in to a
~ I i g h t point. Make a hookon a piece of
2S-gau/!cdarkgreen wire, dip in egg
whiteandthread down the throat at
thellower. Take a piece ofdark yellow
paste, roll into a tinyball and holding it
onyourfirst finger, presssome tulle
over thetop, toilatten and mark it.
Remove the tulleand insert into the
centreofthedaisywith the patt erned
edge uppermost. Usinga small calyx
cutter, cut out some thin green paste.
Thread up the wireand stick th is ont o
thcflowcr.
Finishing
Dusta little green petal dust into the
centreof the daisy. Daisies arean
attractivefl ower to useon many types
otcakcandare particularlysuitable for
spri ngorsummer weddings.
Primrose
Coloursome paste co a creamy lemon
colour,rollinto a ball then into a long
cone with aslightlybulbous end. Stick
adowel into the bulbous end, cut fj ve
petalsthen make a further five cues in
thecentreofeach petal but halfthe
length ofthe first curs. Open upand you
will have five heart -shaped petals. Run
acocktailstickover the surface of each
petal. Make a hookon a piece of26
gauge mid-green wireand thread
through the throat of the flower. Place
asmallballofgreen paste into the
centreofthe flower and using a cockmil
stick, make a small hole in the cent re of
thegreen pieceand use eo posit ion a .
whitestamen. Rollour some green
pasteand cut a calyx using a mini 8
petaldaisy, cupon a piece of sponge
andthread up the wire. Stick around
thebaseofthe flowersquashing around
thebase.
Finishing
Dusta littlegreen into the cent re of the
flowers. To make a stemmore in scale
with the flower, two additional wires
arc raped to the originalone. Primroses
arc ideal forspringcakes, particularly
Eastercakes or counrrv-stvle weddings.
/
187
l
:
I
188
Violet
Co
Colour somepastevioletand roll intoa
ball. Mould intoa coneand 51 ick a
CO l
co:
dowel into the thicker endof thecone.
rhl
Cut one petal to a quarterofthe total
fra
circumferenceof thepaste andfour
eqi
petaIsfromthe remainingthree
qUI
quarters. Open lipthe flower andruna
pu
cocktai Istickover each petal in tum.
qu:
Makea hook in a pieceof28-gauge
greenwirethen bend a hookat right
taO
angles. as shownanddipthe hookin
thl
vio
eggwhite. Thread the wirethrough the
throat and pushso that the wire pierces
ani
the top of the back ofthe conebehind
thl
thl
the top two petals, makingsurethat rhe
as,
largersinglepetal isat the bottom. Cut
he
off any excesspasteand then bendback
Ian
the wire. Roll out somegreenpaste, cut
shi
a diamond shape and then cut eachside
via
almost in half to make the calyx. Place
over the violet asshown. Make an
FiI
orangestamen and insert intothe
Du
centre of the violet. Marka veindown
vi<
the centre of the large petal.
ha
Finishing
co
Dust with dark violet pew 1dust. Mix a
vic
M
little white petal dust withsomeclear
spirit and paint a fewIinesintothe
SOl
lin
centre of the violet.
fin
Violetsare a common flower
connected with springtimeand Easter.
cei
They lookattractive On Easter cakes.
eggsand birthdaycakes.
co
da
SU
sp
Heartsease
Colour some pasteto a pale ivory
colourand roll intoa ball. Forminto a
cone shapeandsticka doweIinto the
thicker endof thecone. Cut one petal
hum aquarter ofthe cone and four
equal petalsout of the remainingthree
quarters. Squash andpinch but do not
pull each petal, then rolla cocktail stick
quite firmlv overthe surface to thin out
rather than to hiII the petals. Placeon
thewire inthesamewayasforthe
vi olet. Squashto elongatethe petals
and topush uprhe top layer. Once on
thewire insert a small ballofpaste into
thecentre andmakeacavity in it using
asmall ball toolor the end ofa glass
headed pin. Tlick the bottomof the
large pctal underto makeit into a heart
shape. The calyx is the sameasfor the
violet.
Finishing
Dust the top twopetals mauve or
vi oletand theother three yellow, the
backsshouldbedusted in the same
colours. Put a touch of mauve and
violeton the bottom petal for detail.
Mix some blackpaste colouring with.
someclearspirit and paint the central
linesusinga veryflne brush. To
finish, dust a little green into the
centre ofthe flower.
Hearrsease isa wildpansyand
comes ina rangeofcolours. They are
dainty colourful flowers making them
suitable formanytypesof cakes and
sprays.
189
Heartsease
Coloursome pasteto a pale ivory
colour androll into a ball. Fonn inro a
cone shapeandstickadowel into the
thicker endof thecone. Cut one petal
from aquarter of thecone and four
equal petalsout of the remaining three
quarters. Squashand pinch but do not
pull eachpetal, then roll a cocktail stick
quite fi rmly over the surface to thin out
ratherthan to frillthe petals. Place on
thewirein thesame way asfor the
violet. Squash toelongatethe petals
and to push upthe top layer. Once on
the wire inserta small ballof paste into
the centreand makea cavity in it using
asmall ball toolor the end of a glass
headed pin. Tuck the bottom of the
large petalunderto makeit into a heart
shape. Thecalyx isthe sameasfor the
violet.
Finishing
Dust the top two peta Is mauve or
violetand the other three yellow. the
backsshould bedusted in the same
colours. Puta touch of mauve and
violet on the bottom petal for detai l.
Mi xsome black pastecolouring with
someclear spirit and pain t t he centra I
linesusinga veryfj ne brush. To
finish, dust a little green into the
centre of the flower,
Heartsease isa wild pansy and
comesina rangeof colours. They are
daintycolourful flowers making them
suitable formany types of cakes and
sprays.
k
189
190
Freesia
51.
Make a dumbell shape in ivorypaste
Rol
and stick a dowel into one end. Cut
mal
intosixequal petals; squash , pinchand
intc
pull and roll a cocktail stickover each
W1i
petal. Place onto a piece ofspongeand
cut
cupeach one stroking the baII tool from
pen
the outside cothe inside of the fl ower.
sma
Pushyour ballordog bone tool down
the
the centre of the throat to stretch it
all(
slightl y. Take a piece of 26-gaugemid
ave
green wire. hook and dip in eggwhite
pet.
and thread through the throar, Takea
inrc
smallball ofpaste and place insidethe
ton
flower to act like a plug to stop it from
pet:
s]idingdown the wireo Usinga cocktail
gau
stick make a smallhole in t he plugand
thn
fold together three 2.Scm (I in) pieces
sno
of cotton or stamen cotton and push
sms
the foldedends into the hole using the
cal,
thumb and first fingersof both hands
whi
squashslightly. Move three alternate
in t:
petals inwardsand othersoutwards.
one
squashjust below the petals. To make
forr
sure the centre three stay in posi tion,
grei
the outer threeare then gent lyeased up
stic
to sit as a second row an top of the first
mo
three petals.
The budsale made in varioussizes,
Fin
thesmallest are just tiny cones placed
Mi
on wire and rolleddown between the
spit
fingers to{ann a long, elegant bud. The
liru
twisted budsare made in the sameway
pet
as the winter jasmine buds. sm
anc
Finishing ma
Once dry, dust with pinkor anyother
appropri ate petal dUST. as freesias come
100
in a widerange ofcolours. AIirtlegreen
spr
petal dust is brushed into the centreand
we,
around the baseof the flower. The buds
seb
are IightlYdusted allover with green
while the twisted buds are halfgreen
and half pink. Youwillneed graduated
flowers aswell as buds to make aspray.
Mixa little green food colouring
with some clear spirit and paint a calyx
on each bud and flower. Paint a small
singleleafshapeon either side usinga
fine paintbrush and allow ro dry.
Assemble starting with the smallest bud
and placing the others to The right then
to the left all the waydown.
Snowdrop I
I
I
I
Roll asmall ball of whitepasteand
make intoa cone, then stick a dowel
into the thickerend and cut six petals.
While still on the stick, makeasmaller
cutin thecentreof three alternate
petals asfor the primrose. The three
smaller petalsare[I smallerversionof
theprimrose. Squash, pinch and pull
allofthepetals, rolla cocktailstick
over eachof them. Cup both setsof
petals onafoam base. Stick a balltool
intothecentre and roll the flowerabout
tomake a bulbous cavityabove the
petals. Make ahook on apieceof30
gauge darkgreenwireand thread
through the (Jower; bendover sothe
snowdrop hangslikea bell. Slidea
small ball ofpasteaiongthe wirefor the
calyx. stickingin positionwith egg
white. The threeheart-shaped petalssit
inthecentre, with the three largeplain
oneson topsimilar to the petal
formati onof the freesia. Rollout some
green paste and cut a thin pointed strip,
stick thesquareend on to the wireand
mouldaroundthe base of the flowers.
Finishing
Mix some greencolouringwith clear
spirit and paint someveryfine feathery
lineson tothe three heart-shaped
petals. TIle snowdropbeingsovery
small isthe mostfiddly flowerto make
andonlypracticewillenable youto
manipulate tiny petals.
Snowdrops havea limited use, but
look very attractiveon a winter or early
spring wedding cake, especiallyifthe
wedding isina white and green colour
scheme.
I ,
I
I
I
I
I
I
I
I
'-- 1
191
I
I I
I
I
I
I
:
i
I
Bluebell
Colour some paste bluish-rnauveand
roll into a ball. Mould into a dumbell
shape, slick a dowel into one endand
cut six petals. Placeeach petal onto a
piece of spongeand cup usinga ball,tool
stick, then insert a ball tool up into the
centre of the flowerto makea bulbous
cavity. Using tweezers, pinch the
flowerasshown to produce a ribbed
S
effecton the side. Tape two white [\
stamen ends onto a pieceof wire, and 'j
wrap round extra tape to stop the wire t(
coming back through the flower, il
Thread the wireand stamens through
the flower. The budsare made by
making a small cone, pinched with
tweezers.
Finishing
Bn..Ish with <l mixture of blueand violet
dusting powder. Tape the budsand
Oowers onto <J rnai n stem asshown
starting with a bud in the centre then
sett ing another to the left then the next
\
to the right and so on. Youcan make"
long spraybyusing five to seven buds
and five to seven flowers. Bluebells look
attractive bunched together with other
spring flowers.
Many dozensof flowers can be made
usmg the technique, shown and once
p(
the technique IS mastered youshouldbe
able to lookat almost any flower and be
able to make it bydeciding which ofthe B
skillswill be necessaryto use, The
flowerscovered in tlus chapter maybe
A ~
del
used In a widevaneryofsprays and
floral arrangements. The following
COl:
provide just a fewideas to get you
COrl
nee
started.
blo
frill
bel.:
Jus
6ID!
ribl
whi
wir
23t
teel
192
Baby's Booties
Apairofsmall china baby'sbooties
filled with pastel-tippedpetal blossom
woul d be asuitable giftfora newarrival
orforachristeningcake. FiJI the
booties wi th whitesugarpas re: make
somefigure-of-eight double loops in
lemon andwhite. Placethe ribbonsin
position then arrangeanassortment of
sizes ofbasicfive petal blossom and buds
inthe bootiesusinga pairof tweezers.
Tictwo lemonbows and stick theseon
tothefront of the booties with royal
icingora rubber based glue.
Posy ofPulled
Blossoms
A posyofpulled flowers would make a
delightfuldecorationon any cake and
could L ~ madein a varierv orcolour
combinations. For thrs posyyou will
need fi fteen totwentyfive-petal
blossoms andabout eight buds and
frilled blossoms. \\!hen dry, thesehave
beendusted withblueand peach petal
dust andarranged with blueand peach
6mm (1f 4in) figure-or-eight double
ribbon loopsand placed in to a small,
whitepostholder. For instru ctions on
wiringfl owers intoa sprayrefer to page
236 whichcovers the posywiring
techniquestep-by-step.
193
194
Peach and Blue
Anniversary Cake
The same peach and blue posyon an
AnniversaryCake. The cake isa 20cm
(8in) heart-shaped and royal-teedin
peach with shellsand runningSscrolls
piped wirh a No42 tube then withaNo2
and overpiped in blue usinga NoI tube,
A blue polkadot ribbon has been
attac hed around the side with a bow on
the front. An inscription, a small
feathe r butterflyand the posyfi nish the
top decoration.
Silver Vase
Th is flowing vase is fi lled wi th dozensof
pulledblossoms and buds. Make five
identical legs and wireinto a posywith
double figure-of-eight loopsandstick
Into a silver vase. This wouldbean
ideal top decoration fora three tier
wedding cake. (refer to Lesson 19for
information on wiring flowers into
posies. The principle is like the reverse
Sor crescent spray) .
Garden and
Wayside Cake
Cove r a longocragonaI board with
wild silk or an alternative fabric. The
edge has been finished with a velvet
ribbon around it. Cove r a smaII oval
cake in pinksugarpasre. Transter on to
the board with an oval pieceof waxed
paper between the cake and board soas
nor to strain the fabric, making i t
possible to reuse the board. Pipeasmall
shel l around the base. A 3mm (lfain)
ribbon isplacedabove the shelland
then forget-rne-nors are piped freehand
over the sidesof the cake. A sprayof
flowers is placed into posypick witha
butterflyand inscription to finish off
thisunusual floral cake.
LESSON 16
Cutter
Flowers
Flowers Made
Using Cutters
Numerous varieties of flowers may be
made from the many cutters now on
the market. Cutters for tlowers and
foliage come in lots of sizesand
makes, some metal and some plastic.
Every manufacturer produces a
slightly different shaped CUllerfor the
same flower and they all make sl ight ly
dIfferent looking flowers. For some of
the flowers shown, you wiII have to
modify the shape of a curter.
The Rose
The rose, symbol of erernaI love, peace
and serenity, isthe most pupular cutter
flower. The one shown here works
equallywell as a three, four or five level
petal formation,
Method
Colour some flowerpaste to the
required colour, here peach has been
used. For the best results prepare
graduated shades of the colour, use the
darkest shade at the centre and lighter
shadesfor the outer petals. If match ing
pastes to bridal fabrics, match yOUT
darkest shade paste to the fabric.
Roll the paste into a ball, then into a
cone. Make a hook on a piece of 26
gaugemid-green wire, dip into egg
whire and stick into the rhickend of
the cone. Mould around the base to
cover up the hole. Leave to dryfor a
day.
Rollout some paste until it is
translucent, cut six petals. The cutters
showncome ina set of fi ve, the middle
three cutters of the set have been used
to make the roseshown, the f rsrsix
petalshave been cut with the second
smallest cutter. Brushsome eggwhite
on the top of the cone, place the fi rst
petal likea peep bonnet on to the cone,
tuck the left-hand side in and wrap the
right-hand sideon top of this.
Continue the second rowby placing
another pewI on the join of the first
petal, stick with a little eggwhi te,
leavingthe right-hand sideof the petal
open. The next petal sits insidethe last
and overlaps on top of the neighbouring
petal, so now there isone petal in the
centre and two petals on the next row.
Con tinueon to the next row, this time
adding three petals. Place in an overlap
formation creating a spiral appearance.
The first six petals are now in position,
no frillingor softening of petals is
needed for the firstsix petals. Donot try
to cover the cone, if you lookat the
picture the petals only come about two
thirdsof the waydown the cone.
Lighten the paste by adding white
paste to a ratio of TWO pans coloured
paste to one part white. Remember if
youare making more than one rose,
place the firstsix petals on all your roses
beforeadding white to the paste. Roll
out some of the Iighter paste, cur four
petals using a slightly largercutter,
soften these fourslightlyusinga
cocktail stick, position these petals
usingan overlap, spiral formation.
Add further whirepaste to the peach
for the final row. Rollout the paste, cut
nve petals with the next cutter up in
size, frillwith a cocktail stick and
attach. Usually you wi II have to do this
with the rose hanging upside-down so
the petals do not flop back.
Take a piece of green. paste, make
196
into a cone with a flattened bottom and
place a piece of flattened white paste
beneath this, as shown.
Rollout usinga paintbrush asa mini
rolling-pin and cut out usinga calyx
cutter. Cut feathers on the legs, as
shown, tum over and, usinga largeball
tool, make a cavitvfor the rose to sit in.
Sl ide up the wire, sticking with egg
white and mould into the rose.
To make the leaves, squash a pieceof
green paste and roll out retaining a
thicker area. Cut out with the thickest
area at the baseof the leaf. Hold firmly
between your thumb and firstfinger
and insert a piece of hooked wire. Press
into a veiner; roll a cocktail stickalong
the edge and dearly mark the central
vein. Support in a natural position until
complete!ydry.
Dust with a mixture of brownand
yellowpetal dust. When dry, dust the
rosewith a peach and pink mixture
when dry to lift it slightly. The roseand
leavesare then wiredtogether to form a
spray.
Spray Carnation
Spraycarnalions are a very lovelv,
delicate fl ower to use on any
celebration or wedding cakeand can be
finished insome interestingcolour
cornbinat Ions.
Method
Take a piece of 26-gauge mid-green
wire, put a hook on one end and hook a
piece of cotton or thread on to this.
squash with pliersand wrapa pieceof
fine rose wirearound the top piece.
Usinga thin pieceof flonsrry tape, wrap
around the top and tape down to the
baseof the wire.
197
Roll out some paste but do not roll it
until It IS translucent asyou would for
the rose, asfordoublefrilling it should
bea fraction thicker. Cut out the
carnation shape using the carnation
cutter.
Usinga sharp modelling knife, cue
on the indentation and twoor t hcee
timeson the curve of e<tch scallop. To
frill the petal, take a cocktail st ick and
workingwith a flm) rolling movement,
start frillingthe paste keeping it moving
,111 the time so that it does not st ick to
the worksurface. Continue until frilled
all the wayaround. Tum over onto a
piece of thin foam, brushegg\Vh i te all
over the surfaceup to the frilling.
Thread the wire through the centre.
fold in half, remove fromsponge, brush
egg while over the centre third ofone
side and bring the left-hand side third
over; repeat on the ot her side by
turning it over and bringfromthe side
to the centre so it is an S shape iflooked
at fromabove. Squash firmlyonto the
wire.
Cont inue byrolling, cuIt ing and
frillingtwo further petals. These are
turned over. brusl led wi th eggwhite
and slid onto (he wire. Hang upside
down support ing between your two
thumbsand firstfingers. Squash all
around to get an even finish.
Make a small cone, known as a
Mexican hat . rolli ng from the inside to
the outside using a paintbrush. Cut out
a calyxand then. as forpulled flowers,
sticka wooden dowel down the centre
toopen it up. Slide this up the wire and
attach to the carnation with eggwhite.
To make the bud, surround a yellow
cone with a pieceof greenpaste and cut
through {hegreen usinga modelling
knife to reveal the yellowunderneath .
Place onto a piece ofwireo Dust the
petals with a flat brush usinga
contrastingcolour and wire with the
bud into a spray.
198
Clematis
The clematis isan attracti vedimber,
The one illustrated isMontana, asmall
tour petalledvariervchat flowers in
abundance. There are many boobon
clematisor look in a seed catalogueas
these usually include fuIJcolour pictures
of clematisand other flowers. Clematis
wouldbe verydramatic on a wedding
cake and, as many men grow them,
cou Id be usedon a man's cake along
with the foliage.
TheCUL!er forClematis Montana is made
bysquashing aChrisnnas Rose cutter,
Only bend cutters if youpian 10 do me
flnwcrs onaregular bas'S, ifno!use a
cardboard or pelal rempkue, (see /Xlge
227).
Method
Rollout some pink pasteand cue(our
petals. Place On a verner likea violet
leaf, hibiscus, or an y with fun-shape
veining. Tum over and usinga veining
tool or cocktail stick, mark rwocurved
lines then tumover so the linesare
underneath and inverted on the top.
Takeasmall, circular pieceof paste
and makea hole in it. With the endora
paintbrush, squashslightlyand Sit
insidea woodencurtain ring. Assemble
the (ourpetalsonto the tiny centre ring
stickingwith eggwhite and using the
curtain ringas a support. Stick some
whi restamen cotton piecesaround the
centre. These have been dusteda
mauve colour in places to producea
stripedeffect.
Take some veliow cotton, wrap
round the tweezerends that shouldbe
about 12mm (I/zin) apart, windaround
13ti ruesand then twist some wire
around the centre to forma figure-of
eight with the wirein the centre. Cut
the two loopsand trimoffthe eXCe55
wire311d stick into the centre of the
clematis to make the massofyellow in
the centre. AlIow to drybefore
finishing. Dust with 3 stripeofdarker
pink down the centre of each petaland
Just a little green around the baseofthe
petals.
s
t:1
~
C
P
g:
SI
gl
81
Vi
Petunias withtheir floppy flowers come
inmany colours, includingpink,
mauve, lilac, redand stripedeffect
ones. Theywould be niceon asummer
birthday orgetwell cakebecause they
are acheery flower.
Method
Make acone and place (Iatend on to
work surface; roll usinga painthrush
until you haveacentral node and a
refined outerarea. Cut out usinga
petunia cutter. Placea wooden dowel
into thecentreofthe flower and rotate
ittostretch the throat open. Holding
theback ofthe flower, placeeach petal
down on 0 a leafverner0 vein the
perals, then holdingon the edge ofyour
work surface, frillthe petal edgeswitha
cocktail stick. Tape frve whitestamens
together withflori strvtape; makea hole
atthebase of the flower and stick the
stamen piece into the throat threading
through the back. Ifmakingan unwired
petunia, trimoffthe excessstamen ends
once theflower isdry. Ifwiringthe
petunia. slide a small hollowed cone of
green on to the backand tape the
stamens to a pieceof wirewithmid
greenflori strytape. Oust with two
shadesofpinktogeta striped effect
with a littlegreen in the centre.
199
I
Fuchsia s
Fuchsia are ad rarnatic summer garden
flower hanging in clumpsIike balleri nas su
in the sunshine. Theycome in a ~
hundredsof colours. lcis best copick da
some real fuchsiasto achieve narumlistic in
colouring, or have a book with colour pa
photographs at hand. For the best
effec ts, showthem hangingout of a M
vase as theydo naturally. Ta
of
Method d 11
Talee six stamens in dark pink with one IJe
longer than the other live. Wrapa pe
pieceof28 -gauge green wirearound pa:
them. Squash a pieceof paste around sec
the wire and a piece of paste on the PI,
longerseamen. Roll out some paste and lilt
cut sixpetals using a rosepetal cutter. dO'
Laythree in a fan, stickingwith egg rlu
white. There are ten wrapped around thl
the small cone of paste. Stickthe ani
further three pewIs, after frillingthem Of l
slighdy, overlapp ing the joins in the sql
first rowof petals. Roll out some more a t;
paste and, using a pansysepal cutter. i
cut out four petals. Put on to a vciner to th,
give somedetail to the petals. Roll a arc
cocktail stickover the edgeto frill pie
them. Place the four on asshown. Pia
Make a Mexican hat shape in a second inn
colour, rolling with a paintbrush, and the
cut Out the back piece of the (lower the
USI()g a fuchsia sepal cutter. Veln each bac
petal and cup upwardson a pieceof pas
foam. Make a cavity in the centre for anc
the first stage to sit into; slide the pie.
prepared centre up through the back OVE
piece stickingwith egg white. StICk a the
calyx on to the back, and dust usir
according to colour scheme and also set '
dust the longstigma green. Tape on to a son
pieceof 26-gauge wirefor support if on:
wiringseveral into a spray. the
ten
win
Ow
spra
c
owr
da r
arra
200
Sweet Pea
Sweet peasare a verypopular garden
summerflower. 111ey come ina lovely
assortmentof pastel shades as well as
darkveIvery colours. They can be made
ina white or pale creamand dusted or
painted in acolour.
Method
T<Ike asmall pea of paste. Hooka piece
of 26-gauge mid-green wireand stick
the peaof paste on to the hook that has
beendipped in eggwhite. Flattenthe
peaofpaste sligbtly. Roll out some
pasteand cut out a rose petal using the
secondsmallest petal in the roseset.
Placeon to a piece ofsponge, brush a
littleeggwhite down the centre and
downone side of the petal. Then witb
the point of the petaItowards you, take
the flattened piece of paste on the wire
and place the th in edge i nto the centre
ofthe petal; fold borh sides over and
squash together. Pull the top piece back
at aslight right angle.
Rollout some more paste and cut out
the first main petal. Roll a cocktail stick
around the pera Ito ITi II, place on a
piece ofsponge and vein the centre.
Place the prepared wired inner petal
intothe cenrreof the main petal wirh
the tiny rigbt angled piece hooked over
the top gap in the petal. Squash ar the
backasshown. Roll out a litt Iemore
paste, cut our the second main petal
andshape. Frill this slightly, put on a
piece cffoam, vein the centre then rum
overso the veining is inverted. Stick
thepreparedpiece to this newpetal
using eggwhite. As the sepaIsstarr to
setyou can move them abour. Rollout
some green paste, cut out a calyx. Place
ona pieceofsponge, cup and slide up
the wire, sricking with eggwhite. The
tendril s are made bywrapping pieces of
wirearound the handle ofa paintbrush.
Dust when dry and assemble into a
spray.
Sweetpeas tend to look best on their
ownbecausethey are flar flowers. They
do not mix well. A natural type of bund
arrangement suit s them best.
201
Longiflorum Lily
Theseelegant trumpet-shapedlilies
look veryattracrive on a large wedding
cake.
Method
Roll out some white paste and cut six
petals using a lily cutter. Soften each
petal slightly using a cocktailstick; vein
on the reverseside of the petal. Stick
wi th a Iitt Ie eggwhi tc I nro a fan shape.
Roll into a hollow cake pillar to dry.
This is ideal to support the shape of the
lily. For the stamens and stigma make a
hook In a piece of 26-gauge Nile green
wire: take five li Iystamens and use
fine pieces of tlonsrry rape to cover the
white cotton undern eath but leavethe
lemon top exposed. The stigmah a ~ a
small cone attached to the top and IS
divided into thirds. Brush the lemon
lilystamens witb egg white and dip in
dark yellow or gold petal dust; leave to
dry. Bend the stamens with tweezers
and tape all five in a ring to the longer
stigma. Once the lilyisdry, slot
through the lil y base- if wi ring. tape
the end ofstamen arrangement to a
24-gauge wire and slide a small ballof
green paste up the wire to fill in the end
of the lily. Dust with green in the foml
of linesdown the cen tre ofeach petal.
202
(
(
Cvrnl
colon
sized ,
suita]
spray '
CYIllI
242. Q
weddi
Me
Roll ( I
part a
inscm
vein 0
suital;
CymE
again.
n
f
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I
Cymbidium
Orchid
Cvmbidiumscorne in hundreds of
colours and variousshapes. A medium
sized cutter was usedto make an a rchid
suitablefor usc ina corsageor in a large
spray, The step-by-step assemblyof the
Cymhid iumorchill iscovered un page
242. Cymbidiums are popular in autumn
wcddingbouquets.
Method
Roll,HI[ somepaste retaining a thicker
part asfor leaves. Cut out a petal and
inserta hooked pieceof3D-gauge wire,
veinonasweetcorn leafor other
sul table veiner, Three large and rwo
Cymbidium. One largesepal isset
against a piece ofdowel or lube, the
\
'.,
\
orher four sepals, two large, two
smaller, are all laid over the curved
surface. Leave todry. To make t he
throat, hook a piece of 26-gaugewire
and place a mediumcone wit h a
bulbous end on tbe wire. Roll out two
small wing shapes using a paintbrush
handle. Make OJ small cut with scissors
underneath each wing and vein both
sides along the length of the column.
Bend over, make a small cavityand
place a ti ny, yellow ballsplit in halfin
position sticking with eggwhiteoRoll
out some green paste, cut Out the throat
petal. then cut two small pieces out
with a modelling knife as shown. Frill
the scallopedend ofr he petalon ly,
then cup the two side sect ions ofthe
petal on a piece of foam. Vein the
centre using a veining tool. Brush a
little eggwhite at the baseof the petal
and place the column in position.
Wrap the sides of the: petal over to
meet , then stick the throat peta l about
one thi rd ofthe wayup the column. '
Place a small piece offoam rubber into
the throat to stop it collapsrngwhile
drying, (thi s has been removed from
the photograph to showthe derai I).
Placeon "1'1 orchid former , or support
on a piece of foam rubber allowing the
orchid to hangover the edge. Leave all
parts to dry. The assemble and finishing
is covered in dept h on page 242.
203
Catdeya
N
C1
MI
de
Orchid
Spl
la.
The Cau leyaorchid, known as the
bridalorchid in America, comes in
shadesof cream, pink, mauve, lemon
and white highlighted with various
pastel colours; it isa veryfeminine
orchid with its frilly petals and isalways
a popularchoice. The assemblyof the
Cartleya isidentical to that of the
Cymbidium.
Method
Roll out some white paste usinga
paintbrush, retaining a thicker part at
one end. Cut three long, thin petals
and two that areslightlyshorter and
wider. Thethin ones have a deep, wide
veiningon the backsof the peraIs; coe
isset-offagainst the cubingand the two
wider petalsare bothfrilledand veined
and set-offover a curve. Ali of these
petals goon 30-gaugegreen wire.
Beginthe throat bymaking a
column , which isshorter than that
for the Cymbidium. Vein down both
sides. Make asmall yellowball and cut
in half, thisis then placedinto a small
cavity. The throat petal iscut out and
veined on anyfunformation leaf
qu
veiner, alternativelyyoucan buy
MI
orchid throat veiners. Frill all the way
Ml
around. Place the throat petal on a
gat
piece ofspongerubberand position the
en
column at the base of the petal, yellow
bu
ball side downwards;bringboth sidesup
be
to meet at the top stickingwithegg
white. Support in an orchid throat
SOl
p<;;
former or over the edgeof somethick
foam. Dust wito a palepink and lemon
rw
co
petal dust.
set
or.
au
ce
an
tH
ba
ce
eg
da
Cutters far me Cattleya orchid.
sp
sp
204
Miniature
Cymbidium
Miniature Cymbidiumslook very
delicateon a tiny birthdaycake or in a
sprayasafiller inconjunction with.
largerorchids. The yarequite flddlyand
quite timeconsuming to make.
Method
Makea tinyhookon a pieceof 28,
gauge wire. Placeasmall cone on one
end, graduate its shape to fann a
bulboustip. Veinon both sides, then
bend the topover slightlv.Roll out
some pinkpasteand cut the throat
petal. Frill the bottomedgeand cup the
two sides, then attach to the prepared
column witheggwhite as shown. TIle
sepalson this type ofcutter are all in
one; roll out somepink pasteand cut
out thepetals. Veineach one down the
centre. Cupone petal, then tum over
andcuptheother four, when you tum
the petaloveragain they willcurve
backwards. Slidethe throat into the
centre ofthe petal srickingwith a litt le
egg white; leave unti I dry. Oust wirh a
darker pinkand paint afewde1kate
spots using petaldust mixed with clear
spirit.
205
Doris Pink
Dorispinksare a popularflower
especiallywith the oldergeneration.
Theyarea mid-summerflowerand part
of the Dianthus family. Pinkscan be
used likecarnationsin spraysor used in
a natural bunch on a cake tiedin a bow
with a piece of ri bbon. Usingthe
smaller cutter youcan makeFrench
marigoldsusingthe same method.
Method
Hook a piece of 25-gauge Nile green
wire; make a medium-sized cone of
green paste. Dip in eggwhite and insert
the wireinto the finer endof the cone.
Make a cavity in the top of rhe cone for
the perals. Rollout some pink paste and
usinga mediumprimrose cutter, cut out
the petal. makea few tiny cutsaround
206
each petal and frillwith acocktailstick.
Dust with dark pin k powder straight
away. Brusha little eggwhi te into the
cavityof the calyx. placethe first petal
in position and repeat witha further
three or fourpetals unt il the flower is
finished. The centre peraIshould be
squashed up to fillthe centre cavity.
Marigold
Use the cutter which isthe next size
down to the Dorispinkand usedark,
yellowpaste with orangedust. The
calyx has tweezerpinchesdown it and
has a touchof burgundypetal dust put
on when dry.
G
GYf
byn
Mal
pas]
the'
fiHs:
A
win
skcl
plao
rea]
Mel
Bu)\
han
Altl
mid
.3-4
out,
han
Gypsophila
Gypsophila isadainty flower favoured
by many brides fortheir bouquets.
Making thesetiny flowers in flower
paste isvery timeconsurning, but worth
thetrouble, it softensharsh flowers and
fills insprays beautifully.
As it isalmost impossible to tape
wires successfully tosuch a dainty
skeleton ofbranches, it isbetter to
place the sugar budsand blossoms onto
real gypsophila stems.
Method
Bul' apieceofgypsophila and dry by
hanging inadry placefor3-4 days.
Alternatively, placesprigs in the
microwave on defrost setting forabout
3-4 minutes. 11)isdrawsthe moisture
out, it then only needsa dayof
hanging. When dry, the flowers willbe
I.,
crispyto the touch. Cut these all offso
youare left with just the stems. Roll
tiny ballsof whirepasteand stick on to
someof rhe branches. Most of the
branches are in threessoyoucan use
eimer two budsand one floweror two
flowers and one bud on each. Rollout
some white paste, cut out two flowers at
a time usinga small blossom ejector
cutter; cut each scallop ofthe petal in
halfandfrill the whole blossom likea
miniarure carnation.
Take two cur, fri lled blossoms, stick
together with eggwhite and make a
tiny hole in the centre, Usinga cocktail
stick, thread on to the end of a stem, as
with the spravcamation, foldin half
Iikea fan, then into an Sshape. Squash
with tweezers. Continue allover the
sprigof stemscoveringwith flowers.
Th issize spraywouId take about 30
minutes to complete. When finished,
dryfora whilethen mixsomegreen
paste colouring with someclear spirit
and paint the caly:xes on each budand
flowerwith a fine paintbrush.
207
Ivy Leaf
Ivyleavesarea useful foliage suitable(or
year round use. The yarc, however,
particularly useful forChrisnnascakes.
The onesshownare variegatedivybur
the principle isthe sameforall foliage.
Method
Take a pieceof paleivorv-coloured
pasteand mil into a ball. Squash. and
roll with a paintbrush, retaininga
thicker part at one end forthe wire. Cut
out the ivyleafpositioningthe baseat
thicker part asshown; hold firmly
between yourthumb and firstfinger
T
sa
sa
h;
co
v ~
sl!
s t!
F
He
bel
Th
she
pai
rh
Th
ma l
and insert a 28-gauge green wirethat
anc
hasfirst been hooked anddippedin egg
wid
white. Placeon an ivyleafor violet leaf
like
veiner or usea real ivyleaf. Vein on
both sides. Run a cocktailstickover the
edge to soften slightly. Place on a
spongeand vein the centre of the leaf
usinga veining tool or cockrail stick.
Pinch the bottom slighcly and leave to
dry. \Vhen dry, dust the backgreen,
then workthe variegation byusingtwo
shadesof green. Brushthe lightershade
on.first usinga flat paintbrush and
brushingfrom the centre to the outside
of the leaf. then usinga darker shade,
dust on topof the lighter colour, again
workingfromthe centre outwards.
208
Periwinkle
The periwinkle has been made in the
sameway asthe variegated ivy using the
samecutter asclematis. but the green
hasbeen paintedon bymixinggreen
colouring with spin t. Starr offwith a
very palegreen forthe background ,
slowly huild upthe colour with two
strongershades. Dry before using.
Foliage
Hereseveral varieries of foliage have
beenmade in the same wayas the ivy.
Theyhavebeen coloured in various
shadesofgreeneither bydusting,
paintingor varnishing to show
thedifferent effects.
Ferns
Thispictureshowssword and
maidenhairfem. Make a wireskeleton
andcut out the leafshapes, stick on
withsoftened(lower paste which acts
likestrongglue. Dust or paint green.
/
I
209
Heart-shaped
Wedding Cake
This elegant cake with its spray ofroses
andCymbidiumorchids isshown step
bystepon page245.
Instructions
Marzipan and cover a 25 and lScm ( 10
and6in) heart cake. Placeon boards
and leavefora fewdays. During this
timethe flowers can bemadeand
assembled and the lace piecespiped.
Makea paperpattern forthe sideby
measuring from the front point to the
back. Fold the strip in fourand draw an
equalscallop in each division, scribe
onto bach sidesof the cake to end up
with eight seaIlops in total. The
embroiderymay be workedfree-hand
bur the shaping could be included in
the original pattern and scribedon at
the same time as the scallops. Stick the
tiny cutout hearts onto the cake usinga
little eggwhite. Pipea shell around the
210
basewith a N042tube then pipea
scallopedline along the scribedlineand
attach the lace, place the miniature
bows above the points. Using a posy
pick stick, make a hole into the cop tier
and place the spray into position, (page
247). This cake hasa perspex cake
di vider instead of traditional pillars.
LESSON 17
Wild
Flowers
M
aking wild flowers allows all your
creative instincts to come into play.
Wild Flowers There are very few cutters available, so it is a
matter of experimenting with the different
principles you have learnt to create the
flowers of your choice.
Use the flowe rs in this lesson as
guidelmes to get you starred.
However, if you arc starting from
scratch you wi II find it essent ial to
have either a real flower model to
hand, or dewi led photogra phs or
illustrations of the anarom y of the
f10wer in quest ion . When looking ac
the [lowe r you wish to mode1. trv to
imagine other flowers that are
similarly constructed and if these are
covered in thi s boo k. th en you will
know wh lCh method to (0 llow,
Hon eysuckle is made using the finger
flower method. As this is quit e an
advanced flower, you have to work
quickl y to complete before the long
sepal dries. First attempts may be
disappointing because the petal st arts to
drybefore allstages are finished, but
with practice you will become quicker.
..
212
Honeysuckle
Wild honeysuckle in soft tones of
cream, yellowand pale orange grows
freely in the hedgerows in the summer
months. It can be used in amongst
other flowers or on its own. Fora
dramatic effect usea sprayof three or .
four pieces of honevsuckle trailing over
the edge of ,he cake.
1
Using ivory Hower paste start
off with the sprocks in the
centre. Take three pieces of Jtl-gauge
green wire, put hooks on bOth ends of
two pieces and just on one end of the
third. Di p the hooks in egg wh ire
then place a tiny cone of paste On
each. Use the end of a paintbrush, as
shown, to make a cavity in the
rhicker end of each cone to expose
th e tip of the wire.
To make the buds , make hooks
2 on f ve to seven pieces of 30
gauge wire. Roll a ball of paste into a
long thin cone and then stick onto
the first hook, roll between your two
first fingers to get a long elegant bud
bringing the top to a slight point.
3
Taking the bud in between
your thumb and first finger,
curve both the budand wire gently.
Takea pair of tweezers, bend at the
neck asshown. Youwi Il need to
repeatsteps 2 ro J with the remaining
buds, but graduate the sizeof (he buds
tnfinish with three or four different
sizes.
4
Take a piece uf paste and roll
into a long thin co ne . Using a
satay stick, insert this into the thicker
end, as for pulled and finger flowers,
androtate the stick so it moves freel y.
5
Cut a thin strip to form a petal
bycutting two straight lines
neareach other then make a slight
angled cut either side of this as
shown. The remaining piece is cut
intofour. This isclearer in picture 7.
I
I
!
/
~ ~ .
k:::::::: ~ ..... ' - - ~ ___J
213
214
Open up the flower bybending
0'1
6 each petal backwards. Roll a
101
cocktail st ick on each of th e (our top
tol
petals to frill them slightl y.
flo
1
hal
7
f i v ~
Roll the single petal TO
om
approxim ately twice Its
cot
orig i rial length using a cockta i1st ick,
int r
be very gentle as too much pressure
twe
wi II cause the pe tal to break.
s t a ~
Curl petal under using a ball
8 1 tool. Make a hook on a piece
of 30 -gauge wireand thread down Torr
through th roar of the flower. ro fi:
Roll between your fingers to
9 make a long tubular back; lay
over a wooden dowcI with the sl ngle
longpetal downwards, and push on
top with your finger curving the
flower and wire at the same t ime.
10
Take three double fi ne
white stamens, fold two in
halfand one irregularl y to end up with
five the samelength and one longer
one. Run a pairof scissors along the
cotton to curl themslightly, then insert
into the centre of the flowerwith
tweezers. [f youdo not have fine
stamens, use button-thread instead.
215
Squash the centre to make
sure the stamens are secure.
Tomakea spray. youwill need three
to five flowers.
11
To make a spray, you will need
three to five flowers.
111c
hea
heij
wit l
pta'
hov
ro b
Finishing
Dust with a soft, round brush and a
mi xture of orange and yellowpetal
dust to produce the soft apricot tones.
Oust th e lon gest stamen, the cen tre of
the flower . and base of t he flower soft
green. The buds are dusted green at
1
the base and yellow at th e cop. The
side
sprocks are du sted green. Tape the
end
two folded sprocks int o the si ngle one
free
t he n, working in a clockwise
movemen t . gradua lly inc rease the size
of th e buds as you prog ress. Finish off
by placing the flower in posi t ion as
shown.
2.
rem"
cqua
squa
216
Foxgloves
These tallflowerswith (heirhanging
heads arean excellent wayrogive
height toaspray. Theyare made
withoutcuttersso it will take a little
practiseto produce a consistent shape,
however, the sizes need to begraduated
to be most effective.
1
MouId a piece of creamy pink
paste into a cone with a sloped
side, insert a wooden dowel into the
endand rotate so that the stick moves
freely.
2
Cut one petal fromone-quarte r
of the circumferenee and the
remaining three-quart ers int o four
equal petals, just like the hearrsease:
squash, pinch and pull each petal.
217
B
Bl;
sur
Sp t
apj
pel
3.
Roll a cockt ail stick alongeach petal IO thin
rather than to frill.
5.
Usinga dog bone tool on sponge, stretch the
throat of the foxglove so it cupsslightly.
7
Thread down through the flower, the thicker end
piece stops the wire coming right through the
foxglove flower.
or
Tc
of!
all
ba;
Slit
CO l
CUI
stii
bh
in
th
pn
ve
th
Stick a ball tool int o the thr oat of the /lower to
ae
open it up slightlv.
of
4.
bL
Fi
Dl
gn
V ~
lit :
b
co
an
Make a hook on a piece of wire and cakinga piece
6 of floristry tape wrapover the hook and tape
down the wire.
8
To finish the foxglove, dust with pink dusting
powder. A white petal dust is dusted on the inside
of the flower. Mix some burgundypet al dust with some
clear spirit and paint the spots on the throat.
218
Blackberries
Blackberries area veryartracnve late
summer or autumn fruit wi redin 3
spray, asshown. They lookmost
appealing on a man'sbirthday cake
perhaps wi th a pastebutterfly, ladybird
ordragonfly on one of the leaves.
To make the blackberry, make a cone
ofblackish-violet paste. Place this on to
ahooked 26-gauge wire; roll lotsof tiny
balls ofpasteand stick these aII over the
surface ofthe cone unt iJ it iscornplerelv
covered. Rollout somegreen pasteand
cut acalvx;slideth isup the wi reand
stick to the base. Forthe under-ripe
blackberries, make in the same waybut
in mid-green paste.
The leavesare made the samewayas
therose and ivy leayesfea tured in the
previous lesson, but ve inusinga metaI
veiner for astrong veiningeffect. Make
the/lower in the same way asthe
buttercup using a srna I! rosecut ter with
acluster ofyellow stamens in the centre
oftheflower.
Finisbing
Dust the under-ripeblackberries dark
green onesideand redthe other.
Varnish. The flower isdusted with a
little greenin the centre, whilethe
leaves aredustedwi th a touch of
copper-coloured petal dust, these too
are varnished.
219
220
Acorn
Acorns can beusedon a man'scakeor
on a boxofchocolatesasa change from
flowers; theycan alsobe used wirh
autumn flowers to makean unusuaI
spray.
For (he cupof the acorn, makea
cone in mid-brownand markwiththe
end ofa No.2 rube(0 gee a seaIloped
effecton the cup. The acorn ismadeby
makinga cone in greenwith a tiny tip
of brownplacedon the top. Stick into
the cup usingeggwhite. To makea wire
acorn, mourn a cone onto a wireand
hollowour the cup, the wireshouldbe
at right anglesto the cup; placethe
acorn in as before. The leavesare made
as instructedon page196.
Painethe acorn with greencolouring
mixedwith clearspirit to givea natural
effectto the acorn. Painethe leaves ina
mixtureofgreenand autumnal colours.
Wire into a spray.
pi
,
o
I
T
he Bess Rose is a small wild rose. It is a
very dainty variety ideal for use on
Bess Rose
wedding, birthday and celebration cakes; it
can also be adapted to make a Christmas
Rose, green dust should then be brushed into
the centre instead of using pale pink dust all
over.
.:
1
Make a Mexican ha t and roll out the base using a Make a hook on a piece of26-gauge wire . Dip the
paintbrush. Place the small calyx cutter over the hook inegg-whi te and thread through the cal yx, 2
toporthe node and cut the ColIyx. pull through so that it embeds itself into th e calyx.
3
Make a small baIIof paste, place this on top of the
hole made when the wire was inserted to act as a
plug. Make a hole in the centre of the plug (or st amens.
4
Roll au t some whi te paste and cut out a five petal
blossom. Place on a sponge and cup each petal
slightly using a dog bone tool.
5
Brush some egg white on the calyx and tum the
petal over; stick the calyx as shown onto the back
ofthe rose.
6
Cup each petal onto a piece of foam to give ita
cupped shape to the flower . Place some yellow
stamens into the centre hole
2Zt
F
orget-me- nots with their cheery blue and
yellow faces are useful in sprays based on a
Forget..
blue colour scheme.
me... nots
1
Make some buds bypurring
some little, elongated blue
rounds on pieces of 30-gauge wire and
shape into a tiny cone. Cut out small
sized blossom using an ejector cutter.
4.
Thread the blossomonto a piece of 30- gauge Roll out a little yellow past e and CUTa miniature
green wire which has been bent inro a hook a t yellow blossomshape, insert into the centre of
one end. the blue forget-me, nor using tweezers and a little egg
white. Make a tiny hole in the centre using a cocktail
st ick.
2 3
Take a white stamen in a pair of tweezers. Place
the sta men into the centre of the flower.
Finishing
Wire into a spray as shown. You wi II need f ve to seven
buds and three to five flowers per spra y.
222
j
B
uttercups with their bright, yellow flowers
give warmth to a spray and mix well with
Buttercups
most other wild flowers.
1
Mould a cone of green paste. Place onto a piece of Remove the ball tool co leave a hollowed out
2. 28-gauge green wire which basalready been cavi ty.
hooked. Make a cavity using a ball rooIas shown.
Roll out some green past e and cut a sma ll cal yx.
Lift up on the mod ell ing rool. 4.
The finished calyx wit 1 its top piece 111 position.
stic k this with egg white.
5
Roll out some dark, yellow paste and cut out five Vein each petal and frill the edges gently wit h a
6. petals using an apple blossom cutter. cocktail st ick.
223
7
Using a littl e egg white. stick
the pet als into the centre of the
prepared calyx overlapping each one
in tum.
Finishing
To finish the buttercup place a ring of
fine yellow stamens around the
centre, then, taking a small ball of
green paste roll in yellow semolina
and stick into the centre. When dry,
dust with a mixture ofdark yellow
petal dust and gold lustre to give a
golden sheen to the petals.
224
I
LESSON 18
Making Flowers
from
Fresh Samples
:
S
ugar flowers may be made from fresh
specimens by using a wide variety of
Using Fresh
techniques.
FlowerSamples
To begin with, it is important to use
simply constructed flowers. Pick fresh
flowers from the garden after the dew
has been dried by the moming sun or,
if buying from the flori st, check on
seasona 1avaiIabi Iity as some varieties
may need ordering in advance. Many
florists will give you the odd head or
leaf 1s it often seems unnecessary to
buy a whole bunch of flowers when
you on Iywant one sample.
An assortrnen t of archid forrners
that can be made from empty drink
tins eu rring out the desi red shape
using [loristrv scissors. The ones
shown are, at the back, an unwired
Cymbidium orchid, front left, the
Phalonopis (moth) orchid and the
front right, the Dendrobium.
R
~
1i
s:
w,
m
w,
is;
01
]
fl.
fh
w
se
tn
th
in
gl
so
pc
p<l
kr
or
sh
A
th
ell
th
th
se
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dr
as
an
frt
or
1
......
to
r i ~
liS
W
ye
226
Dendrobium
Orchid
Thisorchid.alsoknown as the
Sing-apore orchid, comes in the off
white asshownand shadesof pink and
mauve. It isoneofthe many flowers(or
which there isno curter available. but it
is possible to reproduce thisand many
otherflowers without cutters.
1
Asprayof fresh Dendrobiurn
orchids. Pickoff a suitable
flower to uscas a modeIfor the paste
Hower.
2
Usinga modelling kn i (e
carctully disec: the flower, you
will noticethat the Dendrobium has
seven sections. Start working with
thecolumn, this isthe small piece
thatcomesinto the throar; m ~ ld one
inpasteusing yourfresh one as a
guide. To make the throat, roll out
SOlOI: pasteand, using the fresh throat
petal a, a tempiate, place onto the
paste and Cllt round with a modelling
knife. Removethe petal and support
onfoam to achieve the same soft
shape asthe freshpetal .
Alternatively, layon top of the fresh
throat to set.
The two sepalsor wing petals are
cur from rolledsugarpasreagain using
thefresh petalsas templates, veining
thecentreof each.
I
The main part ist be back three
sepals whichare made in one piece.
Cut out the shape froman empty
drink tin and bend in the same shape
asthefresh part. Rollout the paste
andcur this pieceagain using the
freshpetal asa template, then place
ona former to dry.
3
This final picture shows the
freshand sugar orch ids
together, the sugarone is011 the
right. Irhas been assernbled when dry
using softened flower paste as a glue.
When set, the orchid is dusted wirh a
yellowish green petal dust.
127
I
228
Alstromeria
Alstrorneria or Peruvian lilycomes in
many colours including red. yellowand
cream as well as the pink shown. It is
made using the indi vidualIywired petal
principle used for orchids and foliage in
Lesson 16.
1
Here the fresh spray of
alstrorneria with its delicate
centre detaiI. Pick off a suitable
flower as a sample.
2
As with the Dendrobium
orchid. the fresh petals are used
as templates. Take some pink paste,
roll into a ball then squash, roll out
using a paintbrush, retaining a
thicker area towards the cen tre at one
end. Place the petal Onthe paste so
that the base covers the t hi cker part
and, using a modelling knife, cut
round the petal. Vein using the back
of the real petal as the veiner and then
IT
place the piece of hooked 30-gauge
wire into the thicker part. Place on
sponge and mark t he two curved veins
and then tum over so the veins are on
the back but in reIlefon the front of
the petal. You need three large petals
in pink and three of the smaller ones
in off-white.
To make the stamen centre, squash
grey paste onto six pink stamens and
tape a piece of pink stamen cotton on
to the end ofa piece of wire, cutting
in half lengthways to get a feathery
top. Tape the grey tipped stamen
onto the wire as shown. Dryalong
with the petals.
3
Dust and paint the flower
taking the colours and the
detail from the fresh petals to get the
colouring correct. To assemble. take
the centre stamen piece and place the
three smaller petals in a triangular
arrangement, then arrange the three
outer petals in the gaps taping tightly
rem
to make sure they stay in position ,
sam
CI
2
RubremLily
This largefragrant Iilywith its dark
dense colouring looksattractive on a
weddingcake and creates a very
dramatic effect.
1
This picture shows the spray of
fresh lilies. Pick a bloom and
cut off the petals carefully with a
modelling knife.
(,
To make the lily petal, take the
2 fresh petal left and use as
template. Dust and paint as fresh
sample.
229
Scabious
This at trac ti ve summe r garden flower
comes in shades of blue and mauve
making it an easycolour to use with
pink , creams and lemons.
I
1
The fresh Scabious head with
its soft frilly pet als.
2
Remove a fresh petal and
uncrumple it, lay on a piece of
th in card and drawround it , th en cut
out to make a ca rd template. Roll out
same wh ite paste , cut th e petal shape.
Usi ng a modell ing knife , cut t he edge
wit h t iny slits like t hose made for a
sprayca rnation, t hen frill the edge , as
shown. Dus t in a blue or mauve shade
st raight awa y. After pleating the
petal, as shown , place onto a cut out
green daisy shape. Su pport with foam
rubber sticking with egg white in the
centre. continue all the way around,
then make thin scrips of white roll ed
paste, frill one end and th en ruche up
likefren ch pleat s. These sit inside the
main petals. The st amens used were
green matt-headed ones with tiny
pieces of blue cotton placed in
between them.
]
]
1
3
3
The sugar and real flower.
side- by-side. The sugar flower
is dusted bl ue and the fresh one shows
one of the many shades of the
5
Scabious.
230
iiiiiiiiiiiii .. _
d
F
resh flowers were commonly used before
sugar flowers became popular. Most royal
Fresh
iced wedding cakes would have a bride and
groom or a silver vase filled with fresh flowers
as a top feature decoration and these are still
frequently requested.
Flowers
Choose a fresh spray of carnat ions with nice Cut off the head about 2.Scm (I in) down the
1. 2 strong stems and a good shape. stem behind the back of t he flower; if using buds
or slightly open flowers, cut as for full blooms.
Tak jog a piece of anealed floristry wire, pierce the
back of the calyx by pushing through the wire. 3.
4
Bend the wire over to double up. Be careful to
support the stem to stop the wire breaking the
back of the cal yx.
5.
Takinga piece of lcm (1/2in) wide floristry tape,
tape down t he wire starring on the ca lyx.
231
6
The f nished wired spray carnation with a flexible
wire stem.
l
:
:
T
he principle shown here for wiring an ivy
leaf may be applied to any type of foliage.
Ivy Leaf
A sprigo( iv y iscur off the lea ves , leave a little
piece of the stem at the base of the leaf. 1.
Wrap the smaller piece of wire around the stem
and the first piece of wire. 3.
232
a
~
Take a pieee of fine rose wire and thread through 1
the leaf as if usinga needl e and cotton. 3
4.
Using a piece of 1ern ( lfzin) wide floristry tape,
rape down the wire to f nish off the leaf.
Freesia
Cut offthe separate freesia bloomswith
a pair of flor isrry scissors. Thre-ad a piece
ofmedium-gauge wire through the
flower, bend the two piecesdown and
"
twist the smaller piece around the b
longerone. Tape down the flowerand
d
wirestarting where the first wire was c
inserted. b
0
Sf
hi
w
0
111
2.
Fresh FlowerBouquets,
Sprays and Posies
1
Th ~ posyissuI table for a Iarge
cake or asa spray (or a
bridesmaid. Wire into a posyin the
same principle as (he wired sugar posy
inpage236. The posy is finished with
a hand-made crochet posy frill and
tlowers include Doris pink, mauve
and whire freesias , N igeII a (Love ina
Mist), asparagus fern and gvpsophila,
The taiIsare made in w hi re and Ji lac
301m ( 1,18in) wide ribbon.
2
The two tier wedding cake
shown here has a medium-sized
bridal bouquet as a feature
decoranon. Ifa wedding isbeing done
ona budget, a specially designedbride's
bouquet couldbe put into the posy pick
onthecakeasthe main decoration as
she- arrivesat the reception. The
bouquet features pale peach roses,
whilefreesia, Dendrobium (Singapore}
orchids, gypsophila, asparagus (em and
miniature daisies.
233
Silkand
Fabric Flowers
Fabric flowers have many uses in
cake decorating. Attractive and
dramatic effects can be obtained
using them on celebration and
wedding cakes . Department stores,
florists and cake decorating shops all
stock an enormous array (rom tiny
blossoms to large lilies and orchids.
but only some of these are of a
suitable size and shape for cake
decorating.
Silver Vase
This picture shows f"ctbric flowers
arranged into vases. The smaller is in
(act a si lver cake pillar that has been
upturned and Iilied with dry florist Ty
foam or sugarpasre, The flowers used
in the arrangement me lemon and
white carnation s, blossoms, gvpsophila
and foliage.
The larger silver vase IS filledwith
an arrangement of pink and wlure
fiJchsias. carnations and foliage.
Bridal Bouquet
This large bridal bouquet is
arranged in the same way as
the green and peach orchid and rose
in Lesson 16. reproduced on a larger
scale and placed into a posy pick on a
wedding cake offering an alternative
to sugar flowers.
The most realistic, but the most
expensi ve, arc the silk flowers,
al though manyof the man-made
fabric polyester type are now made to
a high standard. Fabric flowers are
also usefuI to use to perfect an
arrangement that is to be made in
sugarflowers as these are fragile to
work with . Most fabric and silk
flowerscome on thick wire stems that
have to be replaced with thinner 26 to
30-gauge wi re which iswrapped
round a piece of existing stem to make
them more Ilexible. Youcan even
colour fabric flowers; use white
flowers fromwhich delicate shades
can be achieved with a firm-haired
paintbrush and petal dust. Silk and
fabric flowers can also be used on
weddi ngcakes instead of sugar flowers
particularly when time or money is
short.
234
1
LESSON 19
Flower
Sprays
& Corsages
T
he Victorian posy always has a rose as a
central focal point with rings of flowers and
Sprays&
foliage working out, or a more natural
arrangement with five small leg sprays tapered
out, with the cavities filled with ribbons and
more pulled blossoms.
Posies
TIle flowers and foliage needed to
produce the following posy and straight
spray are: three spray carnations,
sixteen five petal basic pull ed blossoms,
nine budsand five mediumivy leaves.
1
Using floristrv tape cut in half,
star t by taping t hree blossoms
together all on the level.
2
Then make one pin kand one
green double ribbon loop from
3mrn ( lIsin) ribbon and pos i tion
either side of the blossoms. Pl ace a
bud in between each ribbon. Note
how the posy is being worked in
triangles at this st age.
3
Now place another blossom
beh ind each bud, shaping into
ashght curve. It is important not to
place the flowers too low. If you do ,
you wiII end up wirh a cooe shape.
The curve on a basin bottom is
approximately the angle you should
be working towards. Note the
dominant triangle shape.

4
Take t he spray carnat ions and
place ant' in each of the gaps
between the blossoms; tape tightly.
Mak e two pink and two green
medium-sized double figure -of-eight
loops and position alternately grew
and pink around the edge. The shape
now changes from a triangle
format ion to a Ci rcular.
5
Placethe remaining blossoms
and bud s at random around the
posy where needed.
6
T o fin ish the basic assernbIy,
tape the five ivy leaves spaced
at regular intervals around the posy.
In between two of the leaves, tape
two loops with double tails. These are
single figure-of-eight loops, but with
extra long tails. The tails are the from
of the posy.
237
:
238
1
toll
7.
Insert wires and tape through cap
posy holder. ouo
Wrap the floristrv tape around
8 the back, tape around several
times [0 stop the posy holder slipping
down the wire. Tape firmly to secure. 1
Conti n ue tapi ng righ t off rhe
1
9 edge of the wj res, t hen cut off
pO;
the excess tape leaving the overlap on
arc
the end of the wires.
att
10
Fold the excess flap over to
cover all the ends so as not
to leave sharp wires exposed, then
rape back up the handle until you run
out of tape.
11.The fini shed posy.
239
Here is the same posy
shown in a tiny floristry
posy holder, it has been carefu IIy cu t
around the edge co produce an
attractive scallop.
12
T
he flowers shown are
those needed for both the
InvertedV inverted V and reverse S curve
sprays. They consist of five
spray carnations, seven ivy
leaves, twelve buds and about
Sprays
twenty-eight blossoms.
Begin by maki ng the two legsof
1 the spray whichare both
identical. First of all position a pink
swallow bowand then two buds
followed byfive blossoms and a
double green loop.
aI
ol
fo
'- ~
2
Continue with buds and
flowers and place a carnation
cenrrallv, finish with pink double
figure-of-eight bow. Repeat CO make
the second leg.
m
Make a posy as previously (
3 described using the remaining
HI
flowers, a double bow and three
pi
figure-of-eight loops.
us
240
4
The four ivy leaves are
positioned together at the top
3C\d the rernai rung ivy leaf at the base
of the posy leaving a gap either side
for the legs.
5
Tape the f rst leg into the posy,
taping tightly so it does not
move.
Tape in the third legand bind
6 all wires fmuly together. The
finished inverted V spray would be
placed in a posy spray pick, ifbeing
used on a cake.
241
C
orsages nowadays are used mainly as a
decoration on gannents for weddings, but
Corsage
several years ago they were given by gentlemen
when taking a lady out to dinner. Sugar flower
corsages are suitable for small cakes or knife
sprays or they may be given as a gift.
Make all the pieces from the directions given on
1 Page 203. Stan off by taping the back cupped
sepal to the throat as shown,
3
Dust some yellow peraIdust into the cenrre of the
throat. Mix a Iittle plum petal dust with some
clear spirit and paint some fine feathery lines around the
frilled part as shown. Finish off the painting with some '
spots on the throat.
The two small sepals sit with the i r curved sides
]
2 upwards either sideof the cupped back sepal .
PIace the two larger curved peta Isat the bottom of the
flower as shown . Make a small sausage in yellow paste
and stick into the throat and vein in half.
4.
2
COJ
Us i ng a soft pin kpeta Idust . brush around the
throat and at the base of the sepals.
Take one Cymbidiumorchid, one piece of
6Tape roger her as shown. Th
5. gypsophila, two leaves, a yellow bow, plus a tulle
sho
bow.
flm
242
3
Spray Carnation
Corsage
1
You will need two carnations,
on e bud, two ivy leaves , one
piece of sword fern and a double
figure-of-elgnt bow.
2
Start off with t he sword fern,
then the carnat ions and
continue with the othe r pieces.
The final stage is the
positioning of the ribbon bow.
This can be in a contrast colour, as
shown , or the same shade as the
flowers,
243
3
244
Blackberry Box ]
A sprayof blackberriesmakesan
alternative to a sprayof flowers on a
chocolate box. This isideal for <I
Father's dayor Mum's birthdaygift. It
wouldalso be suitable for a husband and
wifeas 3 joint gift.
T
I ~
ff:
su
W,
t\\
T
yo
III
C
bl
gy
us
Gift Box
de
A lovelyidea is to make a small sprdyof
flowers to beattached to a srna11 cake
boxusedwhen peopleare unable to
attend a weddingor celebration. It has
been tied with ::I 3mm (1/8in) powder
blue ribbon and then hasa small spray
of Bessrose, forget-me-nets and ivy
leaves. The silver writ ingadds the
finishing touch to the box.
Knife Spray
When decora t ing a wedding cake, it isa
lovely touch to make a knife sprayto
match. Make a small straight sprayin
flowers to match those usedon the
cake. Take a piece of 30-gauge
covered wire and thread through the
spray twisting at the back of the spray.
Bring the wiresaround the side of the
knife where the blade meets the
handle, bring to the centre back and
twist the wires together ti ght Iy. Cut
offexcess wire and fold back towards
the spray.
2
Bridal Bouquet
This largespray, basedon a small bridal
bouquet, iswired in the same wayin
fresh or silk flowers. Thissizesprayis
suitable asshown for two or three Tier
weddingcakes and can be made up co
twoor three times thi s size ifrequired.
There isa lor of inirial preparation as
youwilIneed several hours to make the
flowers. This spravcontains
Cymbidiumorchids, roses, pulled
blossoms. ivy and V<lTlOUS foliageand
gypsophi lasbut at her flowers could be
used. ifdesired. Usuallychis type of spray
doesnot include ribbons.
1
Make the flowers shown. The
main ones being five
Cymbidium orchids, four roses, two
rose buds. You will need several sprays
of gvpsophilas, two to three dozen
pulled blossoms and an assort ment of
variegated ivyand other foliage.
STart off with a smaII ivy leaf,
then add the first buds. The
two rose buds are progressively
openi ng up as you work along the
spray.
245
2
I
3
Place the firsr orchid in position. You will have to
rape this rirmly. Make sure the taping is really
tighr 3S large flowers n eed supporting.
4
Then place another rose and orchid. Note the zig
zageffect going (rom one side to the other. Leave
aside <It this stage and go on to the separate posy.
ir
w
sl
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f(
it
P'
sl
c:
o
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n
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rc
w
pi
Now you need to wire a separate posy for rhe top. Finish offby using the last orchid and all of the
Start off as shown wi th the rernai ni ng two roses remaining flowers and foliage. 5 6.
and another orchid.
7
Tape the posy to the first part of the sprav,rnake
sure to tape these firmly together using full width
tlorisrry tape.
8. The finished bouquet.
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tr:
th
se
pi
n(
th
w
in
246
c
IX
9
This type ofspra I' and most of
the others show should be put
into a posy or spray pick. This is a
white food-grade plastic vial: the one
shown comes with a lit tle base so tha t
once the base is cut the spray can be
removed and the vial placed back into
its stand co ho Id rhe spray. S tick the
pick into position on the cake. This
spray is placed at an angle but be
careful not to place too near the edge
of t he cake or the /lowers wi II look
unbalanced, spoil the effect. and
may crack the paste.
10
Continue pushing the vial
in until it is level with the
top of the cake surface. Fill the cavity
with sugarpasre to hold the wires in
place. On no account must the wires
go srraightinto the cake. For a srna1I
spray, the top from a fibre tip pen can
be used in place of a posy pick.
The top tier of the wedding
cake with the bouquet in
position. Because a larger spray will
trail below the board it is best to take
the bouquet to the reception
separately and then insert into the
pick once the cake is set up. If thi s is
not possible, you will have to bend
the spray then, once in position, It
wi IIha ve to be ca refuII I' pushed back
into shape.
247
11
Wired Sprays
H
aving mastered the art of flower
making, it is time to go on to combine
them in the form of sprays and
arrangements.
There are a great variety of wired
spraysand corsages in man y different
styles to choose (rom. Those covered
in th is chapter include the basic types
that are suitable to use on ce lebrat ion
and wedding cakes. The prmcip le 1 ~
not un like that used by a llorist when
producing bridal bouquets, posies and
corsages fora wedding in fresh
flowers. The onlydifference is that
fresh flowers are easier to arrange
because you can undo the spray \f not
happy with it , but sugar flowers do not
like that sort of treat men t \IS the
petalsand cal yxes get broken.
Generallysugar flowers have ro be
rreared with lovingca re, and should
not be packed too densely or they
crac k and break. Once th e cake is
coveredor even before it is baked, it is
best to have a visual idea of what type
of spray you are goin g to put on the
cake. The most important elements
are colour, shape and proport ion .
Colour
When IlCl wers are pUI together the
overall colour scheme tends to
become more intense. When usmg
dark colours. try to make the smaller
[lowers in the dark colours rather than
the large focal flowers as r jns would
make the overal l effect too dens e.
Generall y a florist would use not more
than rwo or at the most, three main
coloursso bear thi s in mind too. A
flower arrangement nearly always
includes some foliage asa finish ing
touch and thi s is equa llytrue for sugar
sprays. Ribbons maybe an importan t
addi t ion and agai n can dramat ically
change the finished effect. Choose
neutral coloured ribbons <IS these
blend best with the flowers. If using
several col ours together always place
them together off the cake and see if
they tone in with each other before
arranging.
Shape
The shape of a spray of flowerscan
dramat ica lly change t he overall
appearance of the cake, but wit h
pract ice you will be able to look at a
cake and assess the best type of spt ay
to use.
Proportion
The proportion of the fl owers is a very
important point to consider. There is
248
norhmgworse than a spraywith all the
llowersout of proport ion and when
cornbm i ng several different flower
types. it can take some time 0 work
out. Th e easiest solution I:' to make the
sugar fl owers the same size as the fresh
ones. alrernaliveIy. make <I llof them 10
halfseale. Puliedand flnger flowers arc
useful as you make rhese to whatever
size you require. while you can be <I
little restricted when USing cuttersas
there may not always be a cutter of a
suitable size available.
If you are new to wi red fl ower
arranging, start offwith fabric flowersas
you can bend these and squash them
without breaking them. Once the basic
shape has been mastered you can then
duplicate It \Isingsugar flowers. Most
silk and polyester flowersare on thick
wires unsuitable (or small spraysso you
wiII need to cut the wire of( leaving
about I.Scm(%in), then tape a piece
of 26-gauge wire to this and bind with
tl ori srry tape. Fabric flowerscan be
repeatedlyused in the same or different
sprays.
Once you have made your chosen
flowers, dust to the required shade and
bind with fl orist!), tape. TIwNilegreen
colour is suitable for most sprays, but
dark green and white are also usedfrom
time to nme, Depending on the sizeof
the sprayand flowers, cut the tape in
halfor quarters lengthwise. Ifyou have
made <I massof fl owersand have t\VOor
three spravs to make for a wedding
cake, split the flowers up before
beginning the firstspray sothat all the
sprayswill be equal and you will not run
out of fl owers.
Ifnew to sugar flower arranging, it is
advisable to workon a sheet offoam
then you can laythe spray down in
between stagesor If you drop anything
it will nor break. When taping, tape
firmly, if not the flowers will move
about and you wi11 have problems
crearingand main tai n i ng a shape.
Ribbons
Ribbon loops playan important part in
making posies and sprays. For further
information on making loops and taiIs,
see lesson on Ribbons in Book I.
LESSON 20
Competitions &
Commissions
Cake
Commissions
250
Portions from a
Cake
lf t he cake iscommissioned you wilI
have to fllld out the number for the
wedding breakfast, the evening
reception C1 flJ anyadditional piecesfor
people unable to att end or to be sent
away. Once you have these numbers
add them together to give you a number
to calculate the size on,
For further inforrnauon on portions
froma cake, see lesson on Designinga
Ca ke in Book One of this series.
Pricing Cakes
How much do I charge! Thisquest ion
causesso many problemsand it is
always a difficult one to answer because
manyfactors have ro betaken into
account when prici ng a cake.
There are two main typesof cake
produced: the commercial cake - this
would be the type ofcake your local
baker produces, He usuallyworksout
his expenseson the ingredi ents for the
cake itself, then adds the labour costs
and his markup. 111is is fairlyeasvrodo
as he has all his Invoices I n front of him,
he knows howmuch everythingcosts,
howmuch he payshissraf" and what his
profit margin should be.
Secondl y, there is the home
cornmissioned cake- this includes icing
a cake for a commission, friendor
f'Hnily. Acommercial cakeshould be
easy ro produce and not terribly
labour inrensive. Most people (It home
spend a lot longer icing a cake. often
doing a little (It a time rather than
cornplerIl1g the cake in a dayfromstart
to finish. Pricing becomeseven more
difficult when friendsor familyare
involved. Often the cake is given asa
gift but when you workOut the cost of
the ingredients alone you Will find you
are being more than generous. Listed
belowaresomedifterent W;l yS of
srructuring your prices.
Work out the total cost of311 the
ingredients and add rwo or three times
that arnount dependingon the
.'
251
complexityofI he design and the hours
spent work i ngon the cake. The price
can beworked out per kiloor pound for
the basiccake coated and decorated
and then charge extra per spray of
flowersor for special features.
Alternatively, the costi ng may be made
on aII t he ingredients, then work out an
hourlyrate for labour, remember
shopping, washing-up and clearing-up
time, all these th i ngsadd upand shouId
be taken into considerat ion.
Donot under-estimate yourself.
Manypeople feeIthat they cannot
charge a reasonable fee because they are
not professional. Today that does not
mean much, professional is onlya term
for someone who has been to college
and works in industry fullor pare-time.
Many people work from home and
produce work ofa very high standar d.
When yougive a quotati on for the price
of acake, cover yourselfbysavi ng it is
only approximate. Wealileam from
our mistakesand often someone
choosesa design froma bookwhich you
think is goin g to take about an hou r and
it ends up taking a whol e evening to do
and you must be sure that youdo not
loseout. Ifa customer IS making their
own cake it C3 n sometimes take two to
three hours to level it offand to fill-in
large holesand cracks. All th ese things
will affect the final price.
Jt is nice to offerthe hire of a knife
and stand . Although It is an initial
out lay, bycharginga hire fee youwiII
soon be able to recover your costs and
then beable to buysome new shapes
maybe a perspex, spiral or S-srand.
Make sure youhave your stand and
knife insured, and that your name is
clearly marked on the base, Often they
are put intothe ki tchen at the end ofa
reception and il iseasyfor them to get
lost in a busyhotel kitchen.
CommissionForm
When raking details for a cake commission it is advisable to have a standard form prepared so that you are
sure to get all the derai Isfrom the client. Use the following example as a guide.
Wedding Cake Order Form
Name of customer, Sh ape ofcake: Number of t ie rs: S izes:
O ther themes in wedding
(eg. bows. birds, bu rrerfl ies er c .)
Address;
Te lephone:
Cutting cak e yes/no
Base colour:
Se conda ry co lour:
Board tvpe :
Swat ches of bridal mat erial provided
yes/no
Date of wedd ing:
Viewing dat e:
Design rough s submi t ted by:
Coatings
Firushed ca ke:
Flowers (type and col our) : Special rnsrrucuons
(eg . insc n pno ns, run our s.Iace work er c.)
Knife sprav yes/ no
Stand and knife , Florist's name:
Deli very charge :
Address:
Tel ephone:
Deposit paid :
Balanc e due o n approval at viewing:
Stand an d knifehire yes/no
252
i
Competition
Cake
Entering competitions is a very
challenging, yet most satisfying
aspect of cake decora tion and
sugarcrafr. Many hours can be spent
on anyone part of <1 cake, whether it
be the coating, Iinework, figure-work
or the lettering. To give yourself a
good chance of winning, total
ded ica tion to your work is req uired.
Th iscan be verydemanding on your
time, sodo ensure you are able to
' "
allocate sufficient to do jusnce to your
exhibit. It could be many weeks
before you see any reasonable work
worth entering, but persevere and
hopefu II yyou wiIIach ieve your aim.
Understanding the Schedule
First of all check that you are eligible
to enter the class you wish to exhibit
In. It may be a novice or open class, or
it may be that you need to be a
member of a part icular bodyor
organisation. It is important to read
the specification very carefully and to
be aware of what the class is
requesting in terms of size, cost,
presentation, and the accepted use of
edible or non-edible decorations.
Note also whether you need to use a
reaIcake or ifcake dummies are
allowed in the particular class you
wish to enter.
Remember to complete and return
the entry form with the entry fee if
required. Check the date of the
competition and the time of delivery
for your exhibtt; give vourseIf exera
time on the actual day in case of
delays or breakages.
Designing the Cake
Try to be as original as possible with
your cake design I do somerh ing to
attract t he eye of the judges.
Numerous ideas can be gleaned from
greeting cards and gift wrapping
paper, not only for the motif, figure or
animal, but also for ideas on lettering
styles and inscri pt ions. If you intend
to use any templates for off-pieces, for
example runout collars, it is better to
measure your cake after the finaIcoat
and then design your collar to fit
exactly. Otherwise, work to accurate
dimensions and templates throughout
the production of the cake.
Materials
Use good qua Iity ingredien ts to give
youa good quality exhibit. ln the case
of rovaI icing use a fine bridaI icing
(confectioner's) sugar. Strain the egg
white or reconst ituted albumen
before mixing to remove any fine
lumps or impurities which could
affect coating. Sugarpaste cakes need
a good coating to win points, so use
the paste recipe or product which you
know works best for you. Keep a
record of colours used for your various
materials in case you need to re
match. Royal icing can be weighed
and a set number of drops of colour
added, make a note of the rat io and
use it again if necessary. Sugarpaste
can also be colour matched bymixing
a strong shade of the eventual tim you
require, a portion of thismixture can
then be weighed and mixed into a
decided weight of white paste. For
examp IeJOg( I oz) of coloured paste
to I kg (Zlbs) of white sugarpaste.
Cake Dummies
Use the highest quali ty cake dumm ies
you can afford. A smooth
unblem ished surface to start wi th wiII
make coating and covering much
easier. If you have to use a reaIcake for
your exhibit, do ensure that you
achieve a good smooth coating of
marzipan on which to work with your
icing or sugarpaste. Coat the cake
dummy and board separately 10 create
a good finish on both . The two can be
brought togerher when assernblyof a II
the various parts of the cake
commences.
Hints and Tips
Forroyal icingcoating, adda fewdrops
of cold water to the icingfor each coat.
Th iswiII soften the icingand heIp
achieve a smoother finish. The final
coat shouIdbe verythin, workingwith
considerablepressureon the side
scraperand straight edgefor the tOP
surface.
253
Smooth down the surface of your
comingswirh a sharp knifeor sandpaper
- except on the final (:0<11, when
scratches wouIdbe visible. Try to cover
the take-offmarkon the side of your
royal icedcake witha lineworkpanel or
other parts of the sidedecoration.
Use fine tubes when outlining'
runout pieces or coilarsto giveadegree
of delicacyto yourwork.
Ensure<1 good sheen on runout work
byplacing the units near a gentle heat
immediatelyafter flooding. Usean
anglepoiselamp.
Unework isan important part of the
finishof yourcake and can mean a
considerableamount ofpoints towards
yourfi naI result. Use No J and NoO
tubesalongwith some workdone in
NoOO. Forcurvedlinesa slightlysofter
consistencyof icing will create a better
flow. Ensuregoodjoins aremadeon
lineworkand pipean equal distance
fromthe adjacent line. As a rule (or
piping, the distance between lines
shouIdbesimilarto the thickness of the
tube youare usingat that particular
time.
Packing and Exhibiting
Once yourcake iscompleted, attach
yourstagingtickets to the cake board
with a Iittle glue, do th isneatl yand
keep the labels straight and clean. Place
the cake carefully into a good strong
cake box with a secure lid. Many
serious exhibitors have wooden
carryingboxesmade with a foam
coveredslidingbasesection to make
positioningin the box easier, these
carryingboxesshould also have a strong
handle with which to carry them.
Labe1yourexhibit box, especiallyif
youhave morethan one, making
stagingeasieron arrival at the
competition venue.
We11 beforeleavingfor the venue,
check that youhave the schedulefor
reference, and youradmissiontickets.
On arrival at the venue, don't
removethe cake (romthe box unti Iyou
have found out exactly where to place
vourexhibit. Then stageyourcake in
its allocatedspace, beingcareful not to
damageother exhibits that mayalready
beon the table. Placethe cake in the
correct viewingposition, so that the
judges first look isthe one youwant
them to see.
After the judging, whether or not
youarea winner, try to findthe judges
of yourcakeand discuss yourexhibit
withthem. Most of themwill bequite
co-operativein this way. Bycalking to
the judges youcan make notes about
aspects of yourcakes that could be
improved, or altered. Donot be
discouraged by the face youdo not win
anything(or yourfirstentry, or even
subsequententries. Keeptrying, use
yourexperiencesand put the judges
comments to good use to improveyour
skills, knowledgeand ability.
The Wedge Cake
The wedge cake waspopularat one
timeand youmayget an occasional
requestto do a cake with a wedge. nis
iswhen a wedgeof the cake iscut out
then tied with ribbon and replaced.
The wedge must be taken into
considerationwhen designingthe cake,
forexample, a continuous run-out
collarcouldnot be used. It isbest to
decideon the basicdesignbefore
cutting the wedge as mostdesigns are
workedout uponsix, eight or rwel ve
repeatingsegmentsand the wedge
would representone wholesection.
Workout a pattern soyouknowthe size
of the portion to be CuI. Find the centre
of the cake after rwocoats of icingusing
a compassor a circleof paper folded
into quarters, and then mark the edge
of the cake in the twoplacesit isto be
cut. Usinga sharp knifeanda rule,
marka line fromthe centre dot to each
of the outer linesthen hold the ruler
verticallyup the sideand markthe two
down lines.
Cutting through the sugar and cake
It isveryimportant to use asawbladed
knifetocut the wedge. Usean even
sawingact ion to cut through the icing
on the top then moveonto the sideand
repeat the sawingaction holding the
knifeverticallyagainst the cake. Once
the icinghasbeen sawnthrough usea
finebladedsharp knifeand cut through
the marzipanand the cake usinga
gentle sawingaction makingsurethat
the knifeisstraight. Take care not to
cut into the cake board. Remove any
crumbsand give the cakea final coating
of icing. Once thisfinal coat isdryyou
onlyneed to sawthrough the icing to
release the wedge.
Tying with ribbon
Take a pieceofsatin ribbon3-Scm
(['Iz-lin) and 70-100cm(24-36in)
long. This Can either be in white or in a
shade to matchor contrast with the
coating of the cake. In order to prevent
the ribbon beingstained by the cake it
shouldbe sandwiched in between a
254
folded stripofgreaseproof(waxed)
paper. The papershouldreach up to the
start of the marzipan and be long
enough to wrapround both sidesof the
wedge. Once replacedinto the cake
only the front of the ribbonshouIdbe
showingand the papershouldnot be
Visible. Place the wedge back into the
cake and tie the ribbon in a bowwith
trailingfa ils, trimthe end of the taiIsto
equa1lengths and cut into an inverted
Vvshape. With the wedge Inposition
the cakecan bedecorated. Usepaper
clips to dip the rolledup tailsonto the
ribbonsotheydo not get in yourway
when decorating the cake. TI1e bride
and groomcan then simplyreleasethe
pipmgand removethe customary
wedge. Some competitions. especially
when a percentageof points are given
forthe cake itself, willaskfora wedge
cake. TI1is makesit easierforthe judges
to remove the wedge for inspectionand
tasting. It willalways state in the
schedule ifa wedgeisrequired.
Specialist Work
Ifyouareentering modellingor flower
workfora competition it isadvisable
to invest in a display case. Covering an
exhibit helpsprotect it frombeing
touched and consequentlydamaged, it
<I lsoprotects it from dust. A smalldish
ofsilicagel insidethe casehelps to keep
the atmosphere around the exhibit
moisturefree.
I
CompetitionSchedule
111e following isan Illustration of the
typeofschedule youmight be asked to
follow for a competition. The resulting
cake is illustratedon page 249.
Schedule Sugarpaste - Open Class
A celebration cake of not more than
22cm (9in) diameter, On a sui table
basenot exceeding30cm(12in). The
overall depth of the finishedexhi bit
, must not exceed I Oem (4in) . The cake
-f to be coated wi rh sugarpasreand
decorative workmayinclude royal
ici ng, sugarpaste, pastillageor mouIded
flowers. These maybe wiredand have
artificialstamens. Ribbons and tulle
maybeused.
255
Interpretation IOcm (4in), includingthe board, a Forher entry, Cynthia Vennopted (or
ASchedule likethis placedveryfew conventional floral sprayon topwould a designusingbrushembroidery,
restrictions on the competitor except have made the exhibit too high and it continuing the theme of roses down to
(orthe dimensions. The boardhas to be wouldhave been disqualified. The the boardwith an arrangement of
careful]ymeasured alongwith the cake. options werea verylow arrangement of mouldedroses, surroundedbylace
Asthe overalldepth must not exceed flowers or a completelyflatdecoration. pieces.
256