THE INTERNATIONAL SCHOOL OF

Book Two. ADVANCED

Principal teacher: NICHOLAS LODGE

Teachers: ANN BABER, LINDSAY JOHN BRADSHA\v,

ANNE SMITH, CYNTHIA VENN

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 CON1~ENTS

LESSON 1 • PAGE II LESSON 3 • PAGE 33 LESSON 5 • PAGE pI LESS

DECORATING
MARZIPAN
TUBE

WITH
FIGURE
EMBROIDERY &

CHOCOLATE
MODELLING
BRODERIE

ANGLAISE
st.
Simple Cho colate D'c co ra t io n s
""1 an: i p a 1/ Figur e.,
HIlle ~
Colour ed Chocolate
Preh ist o ric Range Iced Embroidery

Co l o u r Combinations
wu« A n i m als Tube Em broider)'

Gateall w i th Chocol at e Di.dU

Woodlllnd S c en c Brod eri e Anglaisf

ROJ'c Gateau • Coffe e Gat eau

Human Figu res La zy DaiJ")' Cak e

Str awberry Ch o colat a Gate au

LESSON 2 • PAGE 23 LESSON 4 • PAGE 45 LESSON 6 • PAGE 75 LESS

CHOCOLATE
PASTILLAGE BRUSH
EX
EGGS
& SUGAR EMBROIDERY

& FIGURES
MINIATURES Tra n sfer of Desigll

Fi gure Modelling. Past i tlagc

Working Brush Embroidery
Vari a t i o ,
Cho colat e E a.,t er Eggs

Moulded Eaner Egg.,

C a rds » Bramble Mic e
M'ag n al ia Cake

Decorating Egg.,
Bu b y Wrapped in Quilt

Chocolate Mo u Id ed Figur es
Koala in T ree • S/(iink

Teddy Birthda y Plaque

Clown jack -in-th e-B ox

 LESSON 7 • PAGE 83 LESSON 9 • PAGE 105 LESSON 11 • PAGE 131

LACE CREATING
FILIGREE
L acin g
El\1BROIDERY &
Pip ing Fil ig ree

Met h o d of Work
LACE DESIGNS
Bllftercrealll Filigree

Side De corat io n s
Us i JJg Ton p I ell cs

Tu b e Em broidery

Rille Cake urit h Fl o u n cc

C offc« C a t ea 1/

SHull E m broid e ry

Strawberry Cake

Cre a t in g Lace Designs

Filigr {'{' with Tullc

N o tt i ng h a m Lace Ca le«

Filigree C LI sk e!

Mo t h cr '« D a y Cake

En g a g c m c u t Calle

Engagcmel/t Ring Cas/(C't

Fil igre« Cradic

b C Ii r i., t C'/I in g C aI(c

Filigree Wc d d ing Ca ec

LESSON 8 • PAGE 95 LESSON 10 • PAGE 115

EXTENSION
BAS RELIEF &

WORK
SMOCKJNG

The Bridge
Step-by-Step Bils Relit:!

Va riation s on Exten si on ~Vo rk

Bas Relief Pl a q u es

B ird C a lec
Appl i qu c

Step -by-Step Applique

Smo cking

Bird Cak a

LESSON 12 • PAGE 145 LESSON 13 • PAGE 157 LESSON 15 • PAGE 181 LESSON

ADVANCED
ADVANCED &
PULLED
Cl
FIGURE PIPING
FREESTANDING
FLOWERS
FLI
Pressure-Piped Figures
RUNOUTS
Pulled & Finger Flowers

Half-Relief Birds • Stork

Ba sic Blossom
Spra
Crown Ornament

Duck Birthday Cake

Double Coll a rs
J·Vinle,. Ja smine

RUl10ut Figure Piping

Ru n ou t Ch u rch
Da i sy

Teddy Christening Cake

/111 n i u e rsa ry Cak« Orn a men I
P rimrose

S em i-R elief Piping

Floating Collar
Violet
S
Outline Figures
H c a r t sc ase
Long
An n iucrsary Cake

Wafe r Th in Piping
Fre es ia
C ymb
Full-Relief Piping
Snowdrop
Call
Combination Work
Bluebell
M in i at i
Teddy Birthday Cake
Bab y ' s BOOlie~'

Flower Girl
Posy of Pu l l ed Blossoms

Bluebell
G
Peach 6 Blue

Anniversary Cake
f

Silver Vase

Carden & Wa yside Cake

LESSON 14 • PAGE 171

Heart-Sh e,
INTRODUCTION
TO SUGAR
FLOWERS
Equipment • Flower Pane

Hin ts l'-:;' Tips. i'vl al( i ng Sugar

Flowers • Making Foliage or

l n d iuid u al l y Wired Petals

Col ou rin g Fl ourc rs

Daffodil Leaf uJing

Flori.ar)' Tape Foliage

LESS O N 16 • PAGE 195 LESSON 17 • PAGE 211 LESSON 19 • PAGE 235

CUTTER
WILD FLOWERS FLO\\TER SPRAYS
FLOWERS
Honeysuckle
& CORSAGE"S
Rose Foxgloves
Sprays &' Posies

Spray Carn at io n Blackberries

Ln u ert ed V Sprays. Corsage

Clematis Acorn
Spray Carnation Corsage

Pet u n i a Bess Rose

Blackberry Box

Fuchsia Forget-me-nots
Gift Box • Kn if e Spra y

5 ureet Pea Buttercup

Rose & Orchid Bridal Bouquet

Longiflorum Lily Wired Sprays

Cymbidium Orchid
Cattleya Orchid
Miniature Cy mb id iu m
Doris Pink
Marigold
Gypsophila
Ivy Leaf
Periwinkle
Foliage
Ferns
LESSON 18 • PAGE 225 LESSON 20 • PAGE 249
Heart-Shaped Wedding Cake
MAKING COMPETITIONS
-FLOWERS FROM & COMMISSIONS
FRESH SAMPLES Cake Commissions

Dendrobium Orchid
Commission Form

Alstromeria
Com p et it io a Cake

Rubrem Lily
Competition Schedule

Scabious • Wiring

Fresh FlollJer Bouquets

Silk & Fabric Flowers

Silver Vase

BriduL Bouquet

 LESSON 1

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Decorating

with

Chocolate

 Decoratmg
• As a decorative media, chocolate is not
only attractive, but is a great favourite
of young and old alike. S
with Chocolate I
Tak,
hole
you I

Mel!
Meli
ilne!
mall
stov
hot l
chrx
the e
how
trOll
cho
awe
corn

Mal
Tak
(wa
cho
sure
Qu i
pap
you
pap'
cho
pnx
lifrh
the
she­
wh i
knit
up"
the :
sprc
mar
cut ,
EQUIPMENT
shal
Double boiler or sa uce pan and chm a

Or glass basin

Chocolate marries well with most

Wooden spoon

other flavours and colours, and ma y

Palette knife

be used in cornbina t ion wi th fresh

cream , buttercrearn, creme pari ssiere,
INGREDIENTS
G reaseproof (w axed paper)

Chocolate buttons, chips or block

Cheese gr at er

marzipan and fondan r. Decora ti ng

chocolat e may be used, preferably
Sharp po in ted kn ife

with chocolate can range from ve ry

plain (semisweet o r bitter) as thi s
Star piping lube

simp le grated shav in gs to more

gives th e best contrast to
Pencil

complicated piped trellis shapes.

butte rcr earn .
C ompass

Melted chocolate can also be

Chocol ate-flavoured blocks can be
Rolling pH1
beaten into buttercream and creme
used for much of this work.
Paint scraper or butter pat roller

pati ssiere and used as a filling tor

Icing sugar
Cutters - round, fluted

gateaux, or st irred into fondan t for

Liquid glucose
Rose leaves

coa ti ng or p ipi ng.

12

 Simple Chocolate
.J

Decorations
Take a cheese grater and using the large Piping Chocolate Moulding Chocolate Roses
hole, grate a block of chocolate unt iI Put some melted chocolate into a small Rosesand other simple flowers may be
you have enough foryour requirernen r. cup and add some water, drop bydrop, made as follows: mix equal quantities of
until your chocolate thickens to the melted chocolate with liquid glucose.
Melting Chocolate consistency of buttercream, Stand the Blend well together in a bowl with the
Melt some chocolate, either buttons or cup in hot water to keep the chocolate aid of a wooden spoon. Tum out Onto a
finelychopped block, in the following soft, because at this stage it willharden clean worksurfaceand knead briskly
manner: put a saucepan of water on the up veryqu icklv, Put some of the piping with the heel of the hand. I r will feel a
stove to hear, Allow it to become very chocolate into a greaseproof(waxed) Wrap
little like plasticine at this stage.
hot but not boiling. Place your paper piping bag. It willdepend on in tin foilor cling film (plastic wrap)
chocolate chips either into the top of what you are piping whether you havea and useas soon as possible, to give a
the double boileror in a-glass or china tu be or not . For much chocolate pipi ng really high gloss to the rose petals.
bowl. Remove the pan of hot water a tube is not necessaryand simplyseems
from the heat and stand the bowl of to assistthe hardening processmore
chocolate over the pan. Stir gently with quickly. A star rube however isneeded
, a wooden spoon until the chocolate has ifa shell border is to be piped.
completely melted.

Making Cutou t Shapes

Take an uncreased sheet of greaseproof
(waxed)paper and pour some
chocolate into the rnidd leof it, making
sureyou have plenty of space all round.
j Quicklypick up each 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 by turning the paper round and
liftingthe opposite sides. This spreads
the chocolate out inro a th in, even
sheet, wi th no marksor indentations
which youwouldget by usinga palette
knife. The laststage isto flap the paper
up and down a few times to make sure
there are no air bubbles. This thinly
spreadchocolate willsoon dry and
many inretesting shapes Can then be
cut either with a knife. or with a
shaped cutter.

13

 yudhacookbook.com

c
at
rli

Chocolate Rolls or Cigars and Curls
A marbleslab is bestfor 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 placeyourlefthand over it to
add more pressure. Holding the blade
nearlynat all. top of the chocolate, draw
it towards you.TIle chocolate will then
curl into long thin cigarshapes. The
longer the downwardpuII, the thicker
the cigar.
Curlsare madeby preparing the
chocolate in the same manner as for
cigars, but the tool used isa 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 curling tool
14
can also be used, but the curlswill have
a ridgedeffect.
Curved Leaves
These can be made byattaching
greaseproof(waxed) paper to a rolling
pin and with a little melted chocolate
pipingdirectlyonto the curved surface.
Pipingchocolate must be usedas
ordinary melted chocolate woulddrop
offthe paper.
1
 nyone who has been in Paris at Easter-time
Coloured A will have seen some of the wonderful
displays of coloured chocolate bird s and
animals. The technique of colouring chocolate

Chocolate is simple , it may then be used decoratively in

place of ordinary chocolate.

Colouringchocolate is nor difficulr. Heat a saucepan about one-th ird fullof thicken and spoil. For this reason, do
andthe technique once mastered opens water until hot , but not boiling. C hop not use water-based liquid colouring.
thegate to a whole new range of ideas. chocolate inro small pieces and place In Ladlea little chocolare into a plastic
a bowl. Stand the bowl over the pan of cup and add a little powdered
INGREDIENTS
water and gently stir with a wooden colouring. Mix thoroughly until the
White chocolate
spoon until the ch ocolat e has mel red. chocolate is evenly blended. Place the
Powderedfood colouring
The white chocolate willnot be as coloured chocolate back into the bowl
Liquid glucose
runn yas melted dark chocolate as it of melted chocolate and mix until the
Glycerine-based food colouring
melts at a lower temperature . about desired shade is reached.
44°C (lIO"F) .
EQUIPMENT
White chocolate maybe quite
Saucepan
granu lar even when properly melted.
Glassor china bowl
Smooth chocolate may be obtained by
Wooden spoon
standing a second bowl in hot water
Greaseproof (waxed) paper
and pouring the chocolate into this
Smallpalette knife
through a very fine metal sieve. T ake
Small plastic cups
care to wipe the bottom of the first bowl
Small ladle or soup spoon
after it has been lifted from the water as
Cutrerand moulds, if required
any drops of water falling into the
me/red chocolate willcause it (Q

1.
Ladle the chocolate into a plastic cup . 2.
Add the colouring a little at a time.

3. Stir to mix, adding more colour as required. 4. The white chocolate is now eve nlycoloured.
15
 (

\Vhen making a va riety of co lours it is

Cutouts Suggested Cutouts Sar
neces sary to make each Indiv iduall y;
Ladle the ch ocolat e on to a sheet of Plaques: round or ova I, fluted or plain . che
however, colours can often be mixed to
greaseproof (waxed) paper lind spread Geometric sha pes: squares, diamonds, rurl
avo id the lengthy process o f repetition.
quickly with a palette knife. You must c ircles and half moon s. 51i.1
Moulding chocolate may be treated
work fast as white ch ocolate sets Flowers: use blossom cutters in various the
likewise.
quickly. Pick up the edges of the paper sizesand leaves. sa \'1
Pale pin k - can be turned inro dark
and flap them up and down to remove Figure cutters: use the cutter of your (12
blue, purple, green and grey.
air bubbles and knife marks. Leave until choice, such as Father Chnstrnas, fir (
Lemon - can be turned into orange,
the chocolate isJUStset before cutting trees, rabbit s, rmce. hut
peach , green and brown.
out shapes. For the best results work an<
A Iways keep the chocolate stand ing in
wi th small quanti tiesof chocolate and Cutout variations cdg
hot water to keep it Iiquid as wh ite
repeat the process as necessary . Chocolate cutouts may be piped with sitk
chocolate sets very quickly . If you are
detail either by using royal icing or with easi
working with several colours
coloured, milk or plain (sweet or semi­ SpO
simultaneously, stand the cups in a
sweet) chocolate. One cutter may be (
roasting tin halffull of hot water.
superimposed upon an other, for ( he
instance, a flower can be made with a har
dark cen tre attached to a paler outsi de ; bot
or a series of different coloured plaques the
may be combined. Cutouts may also be til t i
du sted with pet al dust to ach ieve a ont
shaded effect which is parti cularly all.
attracti ve on flowers, leaves and Tal
butrerfl ies. Leftover piecesof coloured in t
chocolate ma y be broken Into srnaII spri
pieces and finely ch opped with a sharp co\'
knife . They may the n be used like CIlI I
hundreds and thou sand s on the tops (
and sides ofcakes. Stare in an airtight ( 1/ 4i
container. Dill
sug,
Mou [ding Chocolate bel
Mould ing chocolate is used to make I
flowers, leaves and sma II an irnals. she
Colour th e chocolate before adding the will
glucose usmg either powder or paste (I .
colours. EquC1 Iquant itiesof liquid ch e
glucose and chocolate are then mixed you
together and kne aded as described on l
above . chG
but
tun
in tc
EQUIPMENT ach
Sav oy bag wh i
Large star tube m al
30cm (12in) silver cake boa rd one
Palette knife drie
Turntable th e
Cheese grater
7-IOcm (3-4io) op en circular cutter
2-4cm (1-11/ 2in) circular curter
Greaseproof lwaxed) paper
Bowl
Saucepan

16

Gateauwith
Chocolate Disks
Sandwichsponges together with lam of
choice and hutrcrcream. PIpe in cream
rather than spread it as thisstops it
slJding about on jam and givesdepth (0
thesponge. Usea large srar rubc and
savoy bag, Place sponge on a 30cl1)
(12in) silver straw board.
Coat sponge all over with the
butrercrcam, starting with the top unn]
an even surface is ach ieved. Neaten
l\lgewi th tlat side or palette kmfe. Coat
sidesofgateau. Thi s operation IS much
easier if you have a turnt able. Divide
sponl.:C into equal portions.
Grate about 250g (802) clthe
chocolate and hold the sponge in one
hand. with your hand fl at o n 'the
botrom and pick up grated chocola te in
theother ha ~d . Bri~g toge the r by
tihingslighrly;md pressing chocolate
onto sides orcake unnl even lvcoa ted
allround. Put back on cake l~a rd.
Take the large circular cutter and place
in the middle ofgateau. Thickly
sprinkleremaining grated choco late
covering the wholeof the inside area of
cutter. Gently remove c utte r.
Cut some thin strips of paper6m
( 1/ 4in) and lay on top of the shav ings.
Dustthicklywith icing (confectioner's)
sugar. Carefully li(toflp aper. You will
beleft with an attractive striped effec t.
Prepare some melted chocolate on <J Circles of dlOco1ar e forgateau with
sheer of gre a~e proo r (waxed) paper and t:hocouHe disk asseen on page 12, also VARlATtoNS
with a small plain round curter 2.5- 3 C111 showingchaco/me cigan for rose galeau Liqueur-flavoured G areau : \Vhisked
(l -l lflin),cut out 12 circles of as seen on page 18 , sponges absorbIiqueur-flavoured
chocolate into each marked sec tion of syrups very well without
yourgateau; pipe a whirlofbut tercream d isin tegrating. Puur evenly over cake
on outside edge. Take ,1 circle of bases before coa ting.
chocolate and presslightly into SYRUP
hurrercrearn whirl. PICk back offand INGREDIENTS

tumover. Press plam side of Circle back 2x25cm ( lOin ) whisked sponge cakes

INGREDIENTS

600011 ( 1 pint) water

into whirl. The best results are 500g (11b/2Ifl cups) vani lla-flavoured

500g (l Ib) granu lated sugar

achieved in <J cool kitchen and the but tercr earn

ju ice and zest of two lemons and one

whirl and hurrercream imprin t are best Srrawberry or raspberry jam (jeII y)

orange

madeone at a time rath er than all at l75 g ( l Zoa ) plain (semisweet)

once. asthe firs t one will probably have chocolate

12 coriander seeds

Ci nnamon stick

dried too much to make a pat tern on Icing (co nfectio ner's) sugar

Bay leaf

the chocolate.

17

RoseGateau
spon :
sm oc
fairly
Method
Melt the white and plain (semisweet)
using
chocolate in two separate bowlsover
pansof hot, nor boiling water.
Place
Meanwhile, sandwich together the
sponge cakes usingabout one-third of
the buttercrearn, Use the remaining
buttercream to cover the top and sides
of the cake. Draw the comb scraper
com j
around the sides, neat en the edges,
then smooth the top of the cake using a
paper
palette knife.
Ladle a little melted white chocolate
six 3.
ont o some 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
smalloval shape. Return remaining
chocolate to the bowl. Following the
procedure above, cu t out a larger oval
plaque in pink.
Colour the remaining pink
chocolate to a darker shade of pink
then add an equa I quan ti ty of Jiquid
equidistant apart. Gentlv sieve the
icing (confectioner's) sugarover the
top, carefullyremove paper strips. Place
chocolate rose leaves in the corner-of i
the rolls.
TIl isgateau isnot suitable for
refrigeration, ,IS ifexposed to alternate
cold and warm air.condcn sation will •
form on the chocolate causing the
flowers to droop and become sticky; the
icing (confectioner's) sugar would also
dissolve.
INGREDIENTS
2x25cm ( ! Oi n) wh isked sponge cakes
125g ( 4ozl1 cup) raspberry jam (j eIIy)
500g (1Ib/21f2cups) vanilla-flavoured
burtercrearn
250g (8oz) white chocolate
60g (Zor) liquidglucose
Pink powderedcolouring
Christmas green pastecolouring
250g (8oz) plain (semisweet)
chocolate
Icing (confectioner 's) sugar
Spre
EQUIPMENT
28cm ( Ibn) cake board
Turntable
Sma
glucose, mix with a wooden spoon , Palette knife
Comb-edge scraper
then tum out Onto a clean surface and of cal
knead well. Cover with cling (iJm Greaseproof (waxed) paper
J4x 12cm (5lj2x4in) oval cutter
(plastic wrap) and leave for about 15 cake
8x5cm (3lj2x2in) oval cutter
minutes before making roses. When Me
the roses are complete , colour the Thin-bladed sharp knife
SCIssors (lOin
remaining moulding chocolate green (wax,
for the leaves. Flatten a walnut-sized Fine sieve or icing (confectioner's)
sugar Dredger
knob of chocolate between the thumb anorl
and forefinger, place on a flat surface Rose le<lf cutter
2 saucepans
and scampout a rosele<lf usi ng the sprc a
cutter . Mark veins on leaveswith a 2 glassor ch ina bowls
2 wooden spoons
sharp knife. Refrigerateleaves jf they Cut c
are too soft to hand le, trion,
Make about twodozen chocolate of the
rolls from the plain (semisweet ) VARIATIONS comh
chocolate . Fasten the small white Pipe the recipien t's name or the pur pi
plaque to the largerpink one and occasion, on the plaque or usesugar stripe
a rra nge the rosesand leaveson top. Lift flowers. Tiny marzipanfruits could be dark I
with palette knifeon to the centre of the arranged in a little mound while dark Ta
cake. Mark the cake into fourand chocolate medallions attached to the pour I
arrangechocolate rolls. Cut verythin white surface can look quite stunning. ot wa
scrips of paper and arrange on the rolls
co nsi
18
Coffee Gateau

INGREDIENTS
2x25cm(lOin) coffeesponge bases

Apricot jam (jelly)

;OOg (lib/I V! ClIpS) coffee

buttercream

SOOg (lib) dark (semisweet)

chocolate

I walnut

12angelicadiamonds

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 coffee butrercrearn;
smooth and flatten. Cover top of gateau
fairlythickly with coffee butrercrearn.
Smooth round with palette knife, then
usinga combscraper,draw round sides
ofcake asifcoating with rova I icing.
Place on cake board and 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
anothersheetofgreaseproof (waxed)
paper poursome more chocolate and
spread out thin lv, allow to dry. Cut out
six 3. Scm (! III in) squaresof chocolate.
Cut eachone diagonally, giving 12
triangles. Stick these all round the base
01" thegateaubypressingslight lvonto
combed side. take back off, reverse and
pur plainsideto edge of cake. The
striped effect of coffeeburrercrearn on
dark chocolate is most attractive.
Takea little melted chocolate and
pour into a smallcup. Add a fewdrops
ofwater until it has reached piping
consistency. Put into a paper piping
bag: cut offend of bag leaving a hole aid of a palette knife. lift lip segments
about the size ofa No 2 plain piping and prop each one against the line of
rube. Pipe a f<1Ir1y thick line round cream tinti I you have covered the top of
every other segment of your drawi ng. the cake. Pipe a whirl of butter cream in
Repeat the process, but 111 every other the centre and decorate with a walnut
segmen t, or do them one at a time. Put and twelve angelica diamond s.
some more piping chocolate into
anether bag and pipe in between the
chocolate frame in a squiggly pattern, Small piped decoration that can be used
making sure the chocolate touches the on gateaux or fancies.
edgesof frame and tha t the Iines touch
each other, (see derailed photograph).
These pieces dry qui te quickly. As they
do so, ease off 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
Strawberry
Chocolate Gateau
to ou
end 0
outsii
thum
nip 01
petal!
surfac
Method
Take two lScm ( I Oi n) sponge bases
and spreadone with strawberry jam.
Wash, hull and quarter about 125g
(40z) fresh strawberries, Place in a bowl
and sprinkle with a little sugarand a few
drops of kirsch if requ ired. Whisk the
cream to pipingconsistency and fold
one-chird of the cream into the
strawberries. Spread onto jam and place
the other sponge on top.
Spread remaining cream on top and
sideof gateau. Mark into) 2 portions.
Pourmelted chocolate OnW a sheet of
greaseproof(waxed) paper. Proceed as
forcutout shapes. Press grated
chocolate round bottom edge of cake.
rerna
INGREDIENTS right
palm
25cm (lOin) whiskedsponge bases
Strawberry jam (jelly)
Small jar redcurrant jeII y
l50g (80z) melted chocolate
125g(40z)strawberriesplus 12 even' with
sized strawberries
600ml ( I pull/ z cups) whipping
cream
60g (20zJ V4 cup) caster (superfine)
sugar
king (confectioner's) sugar
Kirsch
Sugge.~
piped a
EQUIPMENT
When set, place the 25cm (LOin) 30cm (lZin) cake board
sponge tin (pan) on the chocolate and Greaseproof (waxed) paper
cut round the ti n using a sharp knife to Palette knife
produce a largechocolate circle. Using Turntable
a long bladed knife cut circle into 12 Whisk
even triangles. Melt some redcurrant Bowl
jelly in a small saucepan adding just a Saucepan
little water to thin slightly. Wash and Icing (confec rion ers) sugar dredger
dry U even sized strawberriesleaving 25cm (Win) cake tin (pan)
on the green culots. Hold the culots Sh.arp knife
a[1J dip the strawberriesinto the jelly.
Put onto greaseproof{ waxed) paper to
set. Placestrawberries, th in edge to
centre . Easesixchocolate segments
offthe paperand thicklydust with
icing (confectioner's) sugar.
Moulded Roses
To use this modelling paste and achieve
the best results, allow to rest ina warm
room forabout an hour after making.
When making the petalsuseon Ir
walnut-sized piecesat a time. Do not
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 piece of paste and roll
between palms into a sausage shape.
Wi th thumb and forefinger of left hand,
fiatten out top piece of sausage. Hold the
20

 yudhacookbook.com

remainder with thumb andforefinger of
right hand. Lay flattened edgein the
palm ofthehand with the railpointing
to outside edge ofhand. With the thick
endofadouble ball tool, gently thin
outside edge ofpetal. Hold petal with
rhumb andforefinger of leti hand and
wilh thumb and forefinger of right hand
nip offsurplus pieceofsausage. TIle
petals will befloppy, so lay Oat on
surface to set.
Make two petalsabout as bigas
thumb nail. Pick up centre- piece and
by on petal two-thirds to the left of it.
Wrap leftedge petal over centre. Take
second petal and lay insidethe first
petal bringinground to overlap outside
firstpetal. With thumb gently roll back
outside edgeof petals. The build up of
the petals isasfollows, tucking one
insidethe other until youhave
completed the sequence.
Bud- pear shape + 2 petals
Half rose- pearshape + 2 petals + 3
petals
Fullrose- pear shape + 2 petals + 3
petals + 5 petals
Make each layerof petalsslighcly larger
as they extend outwards.

Suggested sllJ.lpes for chocouue C«lOlIIS and

IJiped de.ural iIJ115

21

 I
\

T cmplalc.1 for dc~ il,'ns iIIl1slTW l'd in this Il'sson

22

..
 LE SS N2

Cho . olate

ggs
& tgures
 aking your own Easter eggs and

Chocolate M chocolate moulded figures can be great

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 choco Iate.

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

Egg white

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

Method (110°F). Maximum workable dire
Pip i ng tubes
temperature for plain (semisweet) COv(
Small sharp knife
Check that your Easter egg mou ld is cboco late is 49°C (120°F), it is not area
Tissue paper
spotlessly clean and dry. The moulds possi b le to work with chocol <J te tha r andl
are bought in halves and can be either has been overheated. White and milk SUT(:
smooth surfaced or a crazy paving (sweet) chocolate should be used at a upsi
pattern. When you are satisfied they slightly lower temperature 42°C the
are dry, take a clean, sott cloth and (105°F) . If you do not have a dry ..
Purchasing Materials polish the inside. Put some water in thermometer , crook your lirrle finger I(
Most sugarcraft shops wi il stock a II the saucepan or bottom of the double and rouch the chocolate with the flat COOl

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.
boiler and place on the heat until very side. The chocolate should feel just basi
hot, but not boiling. warm (the correct heat) . bac!
Half fill basin or top of double Cut out some rectangles of U
boiler with chocolate. If you have greaseproof (waxed) paper slightly pee'
bought block chocolate cut it into larger than the mould. cho
small pieces before putting it into the Pick up the Eastc r egg mou ld, hav,
basin. Stand basin of chocolate in the holding the rounded part in the palm the
water. Stir gently with wooden spoon of your hand, and ladle in some and
un til chaco Iate has me 1ted. lt shou ld chocolate until it is about one third the:
be at a temperature of about 44°C fu 11. Gently tilt the mould in all rep<

24
 yudhacookbook.com
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 mou ld has taken on an overall
silvery-grey colour, the egg is ready to
be unmoulded. Remove from fridge
and peel off the paper. Lay mou ld fla t
side down on paper. Hold each side of
the Oat edge of mould and gently pull
sideways. The egg shou Id then just
drop ou t. T rim edges of the egg wi th a
sharp knife.
To assernble , take a pi ece of tissue
paper, fold it in balf lengrhwise, 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
ha ve formed a ring of tissue 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 th~ bottom half of the
egg, as these will cushion the weight
and stop the egg from breaking. So at
[h is stage fi II [he lower halfofegg wi th
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. You r egg is now
ready to be decorated.
Moulded
Easter Eggs

Gent Iy tilt the mould ina Udirections lint i 1the

1. Ladle melted chocolate int o the egg mould until
it is about one-third full. . 2. surface is cornp lete Iyco vered.

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 unrnould and trim the surplus chocolate
from the edges of the mould using a sharp kn ife.
Dimini shing sized eggscombin ed to create the
Russian doll effect .

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
In chocolate and pipe 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

 Two Chocolate Egg

11
An atrracuve variation to single flavour
Ch ocolate is to combine milk (sweet )
o
with plain (semisweet ) in the Ta
followin g manner: melt two basins of me
cho colate , one milk and one plain as cin
in the meth od previouslyexplai ned . thf
Take some plain ch ocolate and put roe
into a small cup. Thi cken slightly frill
with a few drop s of water. Put into a the
piping bag withou t a tube. C ur off the an<­
end of bag, leaving a small ho le. Pipe on .
in a co rnelli design all over the inside th e
surface of th e mould. Ladle in two
coa ts of miIk chocolate as previo usly
described. •
Wh en stuck together pipe round the
joins with dark chocolate. Decorate
with chocolate rosesand leaves.

Royal Iced Sl
Bu,
Decoration (4i,
hall
Make up some royalicing. Tin t to a
sun
colour of your choice. Put into a piping
and
bag with a small star rube and pipe a
ina
shell border round the join between the
nee
two eggs.
The eggcan be decorated with piped
bor
sugarflowers and leaves; bows;artificial I
flowersand fern; moulded chocolate
srif
rosesand rose leaves; and particularly but
ap~
attracti ve is the pipingof the recipient's
pip
name on the egg.
Clear cellophane boxes can be sun
are
bought at most florists. TIle eggcan be
spa
laidon coloured tissuepaper and the
box tied with a ribbon. Equally, proper All
Easteregg boxesare now available at rhe
most sugarcraft shops. a ICl

bas
sin!
chc
lea'

28

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 bow around the outer edgeof
the egg. Fill base with miniature eggs
and secure a small fluffy chicken sitting
on top of eggs. Pipe the child's name on
the flat baseof chocolate, if desired.

Slimmer's Egg
Buya ballon, Blow it up to about JOcm
(4in) in diameter. Mark a line round
halfthe baIloon wirh pen. Lightlyoil
surface of balloon with vegetable oil
and place thin end up, slightly angled,
in a ring of tissuepaper. Holding tied
neck of balloon with one hand, pipe a
border following the 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
piping tube. Pipe squigglesall over
surface between shell piping, covering
area weII but leaving enough small
spacesso that the finished effect isl-acy.
Allow to dry at room temperature, Pop
the balloon, which will leave you with
a lacy looking half Eastereggshape.
Secure the half onto an oval shaped
baseof chocolate. Place in base of egg. a
singlerose made from modelling
chocolate, then arrange smaller roses,
leavesand budson the oval base.

29
Chocolate
Moulded Figures
As a change from Easter eggs small

l
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 ca n be an
added extra to a child's birthday party I
as a cake home gift. These smaller .i
I
figures need about 30·60g (1-20z) of I
chocolate and therefore are fairly I
inexpensive.
0"
There are two main types mould I
on the market: the half moulds where I
I
two sides are stuck together, as with i
the eggs, these are usually made in a i
soft, easy-care transparent plastic: or
there are more expensive rigid plastic I
moulds, where the figure come s I
out all in one piece. These rigid
I
moulds are in two halves which clip
together and range from Scm (2in)
figures to ones several feet high .
R
Th
EQUIPMENT pre
Moulds
flg-(
Double boiler or saucepan and basin
Il1G
Glass or china bowl
les
Wooden spoon
ar
Ladle
fig
Greaseproof (waxed) paper

Small, sharp knife

Good qualitv block or button (chip)

moulding chocolate
tc
Ribbons
II
(;
Chocolate Figures Prepare chocolate. Cut squares or appearance on the outside of the mould
The method of preparing the chocolate rectangles of greaseproof (waxed) paper
isfully explained in the Easter egg larger than the base or flat side of
tells you that the chocolate isdry and
has conrracred away from the mould.
1

section . Exactly the same method ­ mould. Half figures are made in exactly Remove from fridgeand tum out . Any
should be followedfor figuremoulding, the same wayas Eastereggs, SWilling surpluschocolate extendi ng beyond the
paying particular attention to the round the chocolate to cover all areasof figureIine can be carefullycut away
heating of the chocolate at all times. the mould. However. because there are with a small, sharp knife. The two
The figure moulds <Ire full of so many indentations it might be halves of the figurecan then be
indentations. f;lT more so than the necessary to give the mould a sharp titp cemented together as previously
Easteregg moulds. therefore special on the table to make sure all the cracks mentioned for joining Eastereggs.
care must be taken to ensure each and crevices have been tboroughly Bows can be tied round the necksof
crevice IS thoroughly clean and dry coated. Reverse mould over basin and figure.~ where appropriate, perhaps a
before use. Should the chocolate stick allow any surpluschocolate to drip back different colour foreach child, or with
never try to gouge it out with a sharp 111. Place flat side down onto paper and Christmas angels forexample they can
knife or usea rough surfacedpad. allow to dry. be tied with gold and silver thread and
Always wash mould in warm, soapy \'V'hen dry. repeat the processwith a hung on the Christmas tree. Given as
water, rinse with clean, warm water second coating ofchocolate; put back small giftsfor unexpected visitorsthey
and dry thoroughly. Then polish mould onto grcaseproof (waxed) paper. Put should create 3n excellent impression.
with a soft, clean cloth. into fridgeuntil the silverygrey

10

 chocolatc even Iy cowards the baseof

the rnouId. It isbest CO do rhisholding it
over the basiri, so that surplus
chocolate willdrip straight 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 slight Iy too warm •
and slid offthe surface. Recoat with
more chocolate.
Stand mould uprighton IXlper and
leave un ti Idry. Recoat the insideof
mould. There isno need to tap this
time, but roll chocolate down to the
base in the same manner as before.
Drain over basin. When the chocolate
has stopped dripping, place on a square of
greaseproof (waxed) paper and put into
fridge. Leave in fridge for 20 to 30
minutes unriIthe rnouId has taken on a
Rigid Plastic Figures Method
Check that the mould is spotlessly
silvery-grey appearance. Remove from
fridge.
These moulds are quite cost Iy but clean and dry, payingparricular Take offclips. SIide the poin t ofa
produce excellent results, making attention to the ears, nose and tailor sharp knife or thumb nail between the
figures somewhat larger than the half similar lndentations with other moulds. join of the rwohaIves of mould. One
moulds. The finished product requires Polish well. Clip together. Prepare halfof the rnou Idshould just come
less handling than the halves, and they chocolate. Cut out squareof away. Lay the figure, exposed chocolate
aresowell made tha t everydetail of the greaseproof(waxed) paper larger than sidedown, hold each side of the mould
figure stands out sharply. The moulds base of figure. with fingerspuIIing sideways, and at the
are tough and rigidand shouId last a Hold mould upsidedown, and ladle same time pressdown on mouId wi th
lifetime. The average mould has in chocolate, half/liling mould. Tap th UQl bs, Tlus should release the figure .
between four and (j vestrong metal clips sharp!y to get rid ofany air bubbles Handl e as little as possible. Stand
to hold the rwosides together. An which might he trapped. Wid, a tilting uprigh t, and place on bowaround the
18cm(7in) high bunny takes abou t 75g action towards you, gently roll the neck where suitable.
(2 1/20Z) of chocolate. mould round and round. Bringthe

Making Rigid Plastic

Figures

1 Ladle the chocolate into the

• mould, roll round until the
entire figure is thorough Iy coated
with chocolate.

31
•

2. Drain the excesschocolate

from the mould into the basin. 3. Stand On paper and chill until
set and silvery-grey.

4 To unmould, remove the clips

• from the side of the mould by
pressing firmly with the thumbs.
5• Pull the mould apart gently

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 (sweetand
semisweet) chocolate can be used
together to highlight any feature in the
mould of your choice. Rabbitsof
varying sizescan be made and placedon
acake top covered in green marzipan
that has been pushed through a sieve to
resemble grass.

32

 LESSON 3

Marzipan

Figure

Modelling

 ak ing your own marzipan figures is

Marzipan M great fun and with a little practice
excellent results can be achieved.

Figures
Each ortHI
Marzipan is made from gro und
approximc
almonds and caster (superfine) sugar
weightanc
piusegg white and sornet irues Iiquid
ungainly. I,
glucose. Because of the high
(2in) ande
percentage of oil in the almonds,
Some figufl
working with the paste under certain
pieceo(mal
conditions means it becomes rather
as many as V
oily. II isbest not to make figures in
damp humid weather if it can be
avoided. The paste become s very soft
and stick y, 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. Bronto
For figure modelling the white
Colour60g (~
marzipan is most appropriate because
coffeebrown I
it iseasy to colour, and some <I nirnais,
palms of hand
such <IS the panda, require white lightly on war
marzipan. Good qua lit y white
icing (confect.
marzipan is on sale in most lx)(t;)l11. Pull 0
supermarkets th ese days. Sugarcraft
pear shape. FIe
shops always have a plentiful supply.
Holding the
If making your own , it IS best 10 use
to puIIout ned
icing sugar with the ground almonds
When it isabol
as this will produce a smoother over 2cm (%i n
textured paste with which to work.
Pushacockt
Always work with clean urensi Is,
hands and work surfaces and wash
or the neck to 51
o( a small knife,
ha nds frequent Iyas they wiII become
parr of the head
sticky. Alwaysdry hands thoroughly
out feet ITom rh
as damp hands will make the paste
ones being well
tacky. Use icing sugar to keep hands
mark clawswith
and table surface dry. Never use flour
Mark the body <'
as this will cause fermentation,
sharp knife to gi
cornflour causes cracking and leaves time it does not taste verr good. Never try to knead in birs of hard look. Pipe in eyt
white patches in coloured paste and There are many recipes for making crust , as they will not soften and white and a srna
caster sugar is too granular. your own marzipan, a selec tion of simply make figure moulding The placing of tI
Paste can be coloured with either which ha ve been given in book I. impossible. determine the eJ
dust or paste COI OUTS. It is nor wise to However, the rule of thumb is twice NOTE: Anys
use Iiquid food colourings as the y the amount of icing sugar to ground animal must be\\
make the marzipan sticky, almonds and 60g (202) egg white to stick in the neck.
particularly ifa strong or dark co lour 500g ( lIb) dry ingredients. For the
isrequired. real perfectionist, a professional EQUIPMENT

The marzipan figures will dry off recipe used by the experts is; Food colouring, powder or paste

verywell at normal room 400g ( 140z) raw marzipan Royal icing for piping eyes and small

temperature, but keep away from SOg (21/20Z) liquid glucose derails

strong sunlight which will soften the JOOg (100Z/2 I/ 2 cups) icing Cocktail sticks

paste causing the figures to wilt. (confectioner's) sugar Small rolling pin

Never put completed figures into Marzipan should be stored in a

Small scissors

plastic boxes, covered tins or shut sealed plastic bag to keep it pliable Eggwhite

awayin kitchen cupboards as thi s will and to stop a crust from forming. If Marzipan modelling tools

also cause the marzipan to softe n and you do have a crust, cut it offWitha Stamens with the ends cut of( for

the figures to disintegrate. It takes a sharp knife and check that no

whiskers

very long time for the figure to go rock fermentation has taken place by
hard, at least six months, after which smell ing it. Re-knead before use.

34
Prehistoric T hese are a great favourite with small
children, who simply love eating the
monsters.

Range
Each of the figures weighs
approximately 60g (2Ol). Over that INGREDIENTS
EQUIPMENT

weight and they tend to become 60g (2oz) marzipan per ngure
Piping bags

ungainly. A verage hei ght is Scm Royal icing

Scissors

(lin) and overall length 7. Scm (3in). Eggwh ite

Small sharp knife

Some figures are fash ioned (rom one Dust or paste food colou ring
Cocktail sticks

piece of man i pan, others comprise of Dry icing (confectioner's) sugar

Paintbrush .

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 work surface, dusted with
icing (confectioner's) sugar to flatten
bottom. Pull out tail f"rom sharp end of
pearshape. Flatten and round off.
Holding the body in one hand , start
to pullout neck from far end ofbodv.
When it isabout 5cm (2in) long, bend
over 2cm (3f4in) to form the 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
mark claws with the back of knife.
Mark the bod y all over with t he tip of a
sharp knife to give the skin a textured
look. Pipe in eyes, use a large dot of
white and a smaller dot 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.

35

 Tyrannosaurus

Colo ur60g (2oz) marzipan green.

Divide into two. Roll one piece [ncoan
elongated pear sha pe. Bend the th inner
end to lift up . whi le holding fatter end
presseddown on work surface until the
piece willstand upright hy itselfwith
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\nmg paste.in 'ha\\ . -r a'Keone piec.e
\ and [0\\ ir\to<\00\\. Gradua\\'1 square off
baHstroking one 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 strips out of[he
almond for teeth and stick each side 0(
mouth. Divide the remainin g paste in
two and roll into sausages about 2.Scm
(1in) lon g. Form into reverseS shape
and flatt en one end to repr esent paws.
Stick legs either side of body with egg
white. Take a No 3 plain piping tube
and gen rlv poke allover body. Pipe in
eyes.

36

Stegosaurus
Colour a piece of marzipan the size of a
thumbnail a light, coffee colour. Roll
out with a rolling pin until about S.Scm
(2IJzin) long and 12mm (IJ2 in) wide.
Witha round fluted cutler , cut frill .
With a sharp knife trim off in a curve
following line ofscallops making it
thinner at each end. With remaining
spare piececut out the horn (or the rail.
Between palms of hand s roll
marzipan into a ball, and wirh outside
edges of hand gently rolleach end of
ball togive it a double ended pear
shape. Pull out and flatten one end for
the tai I. PuJ Iau r other 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 egg white down the
spine of the an i mal and attach the
scalloped piece. Attach the hom with a
dot of eggwhite. Pipeeyesas (or
brontosau rus.

Dimetrodon
Colour60g (202) marzipanwith edible
plumdusting powder. Break offabout
one, eighth of the paste. Roll rh is 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, so when
pulling keep it rounded rather than flar
or pointed. With rhe backofa knife
gently press the Circa between head and
body to givea distinct division. Mark
bodyallo ver by gentlypressingsharp
side ofknife to make veryshallow curs.
Cut slit (or mouth . At tach (eer and thin
frill on back with eggwhite. Pipe in
eyesasforbrantosaurus.

37

Wild Animals

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

. ..--
, ,! ...
'

. '.

. •• • .. ..
• •
~
• , t •
• • . ... :

38

Whale
Colour tiny piece of paste pink. Make
twoballs, flattened out about 6mm
(l/~ in) across. Colou r three-qua rrersof
remainingpaste black. Pinch off
enough to make three fins. Two side
fins aresmallsausages 2.5cm ( 1in) long
flattened to 6mm ( V4in) wide. Backfin
isshaped s]ight1y th icker at base and
fractionally curved with a rounded tip.
Start with 12mm ( l,!li n) long sausage
shape. The main body of black is
moulded like a cigar, the tail pulledout
and then [latrened. Make a cen rralsnip
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 c igar. Taper
oneend and flatten for mouth. Flatten
part that is to 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
slightly backward, then top fin in lower
middle of back. Pipe in eyes. Ifthe tail
will not staycurved up, support for
several hours to secure.

39

 Raccoon
Colour60g (2oz) marzipan light brown.
Pinch off a little ball about the size ofa
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 be done
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 in to 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, up sof
arm, paws and eyes. Finish by piping
brown nose, claws and eye centres.

40

 1-­
Squirrel
Colour60g (2m) marzipana reddish
brown colour. Divide in half. Rollone
half into a pearshape, press onto
surface flatside down and lean slighrly
s forward. Divide rest of pasre into three
pieces. Rollone-third into a sausage
5cm(Zin) longfor the tail making it
fuuer at one end. With a small, sharp
pairof scissors make little cuts pointing
upwards all over 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 and hollow with small ball tool.
With remainingmarzipan, take about a
n) quarter to make two 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 prop lip with foamuntil set.
king Fasten all remaining pieces in position
with egg white. Pipe in eyesand a little
If cross inchocolate icing to represent
:k nose.
ach
IS
roll

19
b
Panda
Coloor one-rhird of the marzipan
black. Forthe arms rake half of the
black paste and roll into a sausage about
6cm (2 1jzin) long. Bend round into a
halfmoon. Pinch off (\\10 small piecesof
tly black pasteabout the size of a little
finger nail. Form into ba lisand flatten
out for ears. With a ball tool, hollow
out the centre. Take another tiny piece
ofb\ack, flatten out and cut two tiny
peardrops forfacialmarkings. Reserve
a minutepieceof the remaining black
(or the nose then div ide the rest in half.
Roll into fatsausages 18mm (J/4 in)
long. Curve inwardsslightly, pinch up
ends and flatten forfeet. Divide the
white paste into two, one slighrlylarger
than the other. Take a tiny piece offthe
smaller ball, roll into a ball. stick black
noseon.
Roll white body into a ball. Press base
liar. Roll head into a round shape. Stick
on nose. Make two indentations with
back ofknife under black piece
pointing downwardsat an angle. Either
side of nosefasten peardrops, thicker
enduppermost. Stick on ears. Fasten
anuswith egg white onto top of body
andattach legs either side, with the
inside curveof the legs tucking round
body. Stick head into position securely.

41
Woodland Scene Hl

Fi~

Put 60g [Zoz) vanilla buttercrearn co thick looking base. Spread brown trunk. Use the remaining marzipan to
Thc~c nurs
one side, colour the remainder brown buttercrearn thickly allover logand make the animals
methods of
usingchocolate or food-colouring. branch, leaving a flat surface. Fork 115g (40z) light brown for raccoon x 2
is a heavy rr
Coat board with one-third of brown upwardsto make the surface took like 125g (4oz) red for toadstools x 4
ideally, the
buttercream. U nroll the whi te swiss bark. Spread the 60g (Zoz) van ill ,1 125g (40z) red brown forsquirrel x 2
to prevent I
(jelly) roll and wrap it round the buttercream onto the flat surface of log, 15g (1IlOZ) greyfor mouse
breaking. 1
chocolate one . Stand upright on board Pipe tree ringsin chocolate icing. i5g (1/20Z) pink for flowers
highnnd is
towards back. Cut the other swiss roll at Take 500g (lib) marzipan and colour 250g (8Ol) dark brown forsmall logand
rabbits . dowcl whid
<In angle and stick with buttercrearn, it green. Presssmall piecesat a time
skirt. Figun
pointed side down to side of main roll. through a wire mesh sieve to resemble some whi re dots for toadstools.
morc unstai
Unwrap an y rema ini ngswiss roll and grass. SIice of( with sharp knife and
smaller, tht.
wrap round baseof upright log, cogive a place all over board and round tree
(3 112 in) ano
stick, insert
part of t he 11
children till
supports ani

Gn01f1
Head
Cnillur 1'5 g ~
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"
~ l i gh tly. C<
black forth
sausage. Di
with the knob end of a pen, attach with into three;
Small Log egg white. INGREDIENTS trousers, ja,

Take60g (loz) marzipan coloured dark 500g (lib) vanilla burtercrearn

Trousers
brown. Roll into a sausageshape about
lOcm(4in) long. Hollow out ends with
Ivy 3 swiss (jelly) rolls.
Rol] into a
chocolate and whire
cut in rhe I I
the tip of a sharp kn ife. Score with I he Pipe ivystems at random round the log, 1.2kg (2 Y21b) marripan
two pieces
knifeallover log to look like bark. then stamp out leaves frornsome green Royal icing
legs. Flarre
sugarpaste wirh a small ivy leafcutter. 125g (40z) green sugarpasre
stand inro i
Attach to the stems around cake. little egg w
Toadstools
Jacket
Forthe stalk, make a fat sausageshape
thicker at one end. Stand firmlyon
Flowers EQUIPMENT

Piping bags
Roll into a
Small ivy leafcutter
finger and
surface to flatten end. The cap ismade Rollout pink paste th inly and cut Out shape, cut
froma ballof paste flattened on one side With ti nv blossomspring curter. 30cm (12in) cake board

Sharp knife
Fasten w it]
with the edgespulled thinner with Arrange in clumps on grass in between Push a cod
fingerand thumb. Attach the two the animals. Scissors

Tin y blossomcutter with spring

leaving 12:
pieceswith eggwhite. The white paste attach the
for the spotsisrolled out and CUt Out sausages fo

42

 igu re modelling is an enjoyable, but time

Human F consuming activity. Although appreciated
by children as decorations for cakes, these
figures would also make excellent showpieces

Figures for exhibitions and competitions.

These nurserycharacters represent two

methods offigure modellin g. Marzipan
isa heavy material to work with and ,
ideally, the figures should be kept small
toprevent the marzipan bending and
breaking. The girl figure is I Scm (6in)
high and is supported by a wooden
dowel which is hidden beneath her
skirt. Figures with two legs are much
more unstableand shou Idgenerally be
smaller, the gnomes are about SCm
(Jl/li n) and are supported by acockrai I
stick, inserted through the body and
part of the head. Do not forget to warn
children that these figures contain
supports and shouId not beeaten .

Gnomes
Head
Colour 15g (1/ 20Z) rnarnpan to a flesh
tone. Roll i nro 3 ball and elongate
slightlyto form jowls, indent eyes with
aball tool. Take two tiny balls of flesh­
coloured paste and flatten into a
triangle for the hands, mark in fingers
witha sharp knife. Colour a minute
piecedark pink for I he nose.
Colour8g (1I40Z) marzipan brown,
mould into rwopear shapes and, with a
ball tool, hollow out the fat end to
stand the legs into. Ease up sides shape. Attach. to the body at the
slightly. Colour a small ball of marzipan shoulderand st ickon the h.ands. Girl
black for the belt, roll into a long
sausage. Dividethe remaining paste Finishing Head and Body
into three and colour bright! y for the Make an elongated pear shape and Dust the plaster head moulds wirh a
trousers, jacket and cap. hollowout until it is largeenough to fit little cornflour (cornstarch) and press
onto the head. Leavepointing upwards flesh-coloured marzipan in to each half,
Trousers or bend as desired. Stick the cap onto trim any surplus marzipan level with the
Roll into a rectan gular ball and make a the head and attach the head to the mould. Unmould and stick the two
cut in the middleofone short side, ease -body. Stick the nose in place. Makea halves together with a little egg white,
two pieces apart and round off for the small triangle and elongate forthe smooth the join with thumbs. With
legs. Flatten the base of each leg and beard. Pipewhite icing for the eves and about seven-eighths of the remaining
stand into the shoes securing with a brush white icing Onto the beard. Paine flesh-coloured marzipan, mould into"
linleeggwhire. in features when the Icing has dried. bodyshape emphasizing the waist.
Stick belt around the waist and pipe In Insert dowel through the centre of the
Jacket the buckle. moulded piece.
Rollintoa recrangu lar baII and WI rh
linger and rhumb hollow into a bell Skirt
shape, cut a small V in the centre.
INGREDIENTS Roll the bluemarzipan thinly and cur
Fasten with egg white onto the trousers. 125g (4oz) marzipan out a Circle, rhe radius should equal the
Pusha cockraiIstick through.the body Food colouring bodylength trom the waist to the base.
leaving 12mm (Illin) protruding to Royal icing Cut a hole in the centre of the skirt and
attach the head . Roll out two small Cocktail stick position securing around the waist wit b
sausagesfor the arms and mould into egg white . Arrange th e flounce~ .

43

Arms
Foldthe wirepieces in half and twist all
strands together. Cut offtwo lengths for
the arms in proportion to the Ixxly.
Make two sausages (rom the remaining
flesh-coloured marzipanand mould
around the wireleavingabout6mm
(lAin) exposed at one end, bend Into
shape. Flatten the other end for the
hands and score the fingers wi rh a
knife. For the sleeves, roll two piecesof
red marzipan into flngernail-sce balls.
Flatten slightly, make four indentations
in the roundededgesand attach to the
surplus wireon the arms, Pipe white
royal icing into 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
back of the hair and stick into position. INGREDIENTS
Mark a paning with a krufe. Rolloura 16Sg (51/ 202) marzipan
tiny pieceof red forthe ribbon and bow Royal icing
and attach . Egg white
Foodcolouring
Bodice
Rollout a rectangle with the remaining Colour marzipan as follows;
black paste, the width should be half 90g (302) marzipan flesh colour
the circumference of the bust and the 45g (1I/ w2) blue
length should be rwice the length from 15g (1/202) black
the neck to the waist. Cut a hole for the 15g (l/20Z) red
neck section and fash iO[l rhe front into
a Vshape. Ease over the body and
smooth the side JOIns. Attach sleeves, EQUIPMENT
armsand head. Paint in (ace.
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


Figure
Modelling
lf the Iigure or animal is to be dressed,
the body itself can be a fair!y rough
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 add ition of
clothes will en large the figure so that
the body needs to be thinner and
needs to be thoroughly dry before
clothing is added otherwise crack ing
will occur.
Proportions are very important
when modelling human figures. The
head shouId measure one -s ixth of the
bodysize. When modelling a child,
this proportion isdifferent. The head
is much 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.
P and will produce competent figures but
re~ fo rm ed
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).
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 th at 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 .
46
moulds are readily available
Hair can be piped with royal icingor Pastilla
it can be made by pushin g soft paste It is im
through a garl ic press or a potter's clay campi
gun. It could also be rolled with the with ccx
fingers in to fine strands. It can be some pi
applied to form tight curls o r, by using shape 0
the gun , plaits or ringlets . be dried
transfe r.
Modelling Animals shapes H
When mode II ing ani mals, try to could df
work from photographs, reaI lifeor the card
illustrations so that the pose iscorrect knife.
and most important. the colour and moverns
mark ings of the fur and formation of this will
paws and features are correct and a Cutinfn
realistic likeness is achiever], The the com
bodyshape and pose are important if pieces s
it is to bear any resemblance to that will not
particula r creature even i( an animal
is to be dressed or isa fantasy animal. Heart-sf
Cutoutc
biscuit C~
Cards, Cask ets and Moulded shape fro
Decorations shape in
Again, mou Ids ca n be used to produce place on
bells, caskets, slippers and an yother with fing,
basic shape, but u is (ar more give a pac
rewarding to produce something that monograi
is truly original. Look for more heart. PiI
unusual moulds, for example a flower around t~
pot, doll' s shoes, aspic dishes, and also r
Templates can be cut and made for
cards, casket s and houses for a more
personal result .
Paste
Fur the rough body shapes or anything
that will be hidden wi th 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 is eaten by a child .

 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 h in ly. Cut the card
shape on the surface on which it is to
be dried. Do not attempt to lift and
transfer the piece after any cutout
shapes have 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.
j.
Cut in from the comers, not out to
1/
the comers. When dryi ng tum the
pieces so that they will dry flat 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.

47

 Confirmation Card
Cu t au t wi nd ow o n fran r face. Form
base of candlestick by c urring our
shape qui te thi ckl y and indenting
with a modelling tool a nd rounding
edges to give a th ree di me nsio nal
look . Build up the top of the
ca ndlestick and mak e an indentation
large e nough for th e candle to be
placed in side. Mak e t wo t hin sausage
shapes, tapering at o n e end for the
ca nd le, insert blac k stamen cotton tor
wick . S uppo rt wi th foam until set so
th a t th e cand le will stand away from
the ca rd .
C ut ou t ch rysa nthe mum leaves.
Place a ro und edge of boo k area. Cut
our the cover of the book and 'j ndent
the spine. Place o n a thick rectang le
of suga rpaste for pagesof book . Round
th e ed ges at t he ce n tre of th e book.
C ut au t a s ing le page from a th i n piece
of paste . Turn up edges and SUppO Tt
wu h the fine s livers of foa rn unti l dry.
A dd writing wi th NoOObrush. Dust
th e surface of the pages with c ream
pow der and gold spa rkle. Add
ch rysanthemums. Position a thin
piece of paste for the ribbo n
bookmark.
O n 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 sse m ble C ards

Pipe a soa iisrrai l along inside edge of
inner card . Place the two cards
together . S up port until dr y. Pipe
anot her decor at ive edging o n spine of
th e card to strengthen .

N
N

t
R

t
d
S
t
tI

IT.
S[
1);
ir

48

Bramble
Mice
Mother Mouse
Make a rough shape for the body using
gelati ne paste. A llow 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 sk irt. 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
tha I they wi II be hidden by the apron.
Make a bustle from a thick piece of
paste. Place at the back of the figure
and attach to the skirt.
Head
Make a smaII cone, mden t eyes,
nostrils and mouth, paint in facial
markings. Make mop cap by roll ing a
smallball 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 ba II, fl atten
and indent with a ball tool. Pinch
together the base of the ear and attach
to 'the ha t . 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 sausage shape in pinky
grey colour paste. Flatten one end to
form a spade shape. Cut four long,
49
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 a nd 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 medi urn
th ickness, dust a smaII egg with
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

 when placed inside and becomemore

visible. Make a pillow out ofa roughly
squa re piece of sugarpas re. Pinch the
co m ers to gi ve a na rural look, Frill a
thin , narrow piece of flower-paste to
form lace edging. Make a small head
as for mo th er mouse. Make a rough
conical shape for th e body(rom
sugarpasre. Roll o ur a thin piece of
paste (or blanket. Fold and tuck in the
edges. W hen dry, du st yellowand
paine o n a !lowered pattern with a fi ne
brush. Dust egg blue, add on brown
markings with a fairly dry paintbrush
using brown paste colour .
Prepare plaque bycolouring gelatine
crystals with green dusting colour.
Cover area with gum arabic or egg
white, sprinkle on crystals. Tip away
excess. Make blackberry leaves, (see
page 219) .arrange in " spray. Attachto
the plaque with royal icing alongwith
the eggand mother mouse.

Head
Make babl
hallof ski~
plaster rnr]
small doll '
the impre:
stick to JI")

Body
Make a la
sligh tI y 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

50

Baby Wrapped

in Quilt

Head
Make baby's head by pushing a large tool ove r them towa rds the palm , Pipe on hair using royal icing . Paint
ballof skin-coloured paste into a indent palm with ball tool. Form facial features and dust cheeks.
plaster mould (made (rom cuttinga wrist, e lbow and upper arm by rolling
small doll's head in half and making paste with fif\gers. Place in a natural Quilt
the impression). Place on a cocktail pose to dry. Position babyo n a tissue paper
stick to dry. template and practise wrapping baby
Legs in tissue until satisfied with folds.
Body Taper one end ofa sausage and fla tt e n shape and lay th e quilt so that when
Makea large con e , bend the cone ­ to form a spade sha pe as for arm s. the baby is wrapped in the actual
slightly backwards and exaggerate Make 4 cuts (or toes, round ends. paste it can be handled as little as
abdomen. Creme a curve between the POnTI heel and ankle using thumb and possible as o ver handling and re­
back and bottom using forefinger. forefinger. Sh ape knee and thigh . wrapping will cause the paste to crack
Make an indentation with a large ball I ndent bottom of foot to c rea te arch . and tear. When satisfied, rna rk on
tool where head, arms and legs are to Place in a natural position and dry. templ ate the position of the baby's
beplaced. bottom . When the quilt iscompler ely
To Assemble dry, paint in the patchwork pattern
Hands and Arms Attach head {O body, and legs to with a fine brush using clear paste
Tap one end of a sausage and [latten torso. Make a napp y by rolling a piece colours. If working with more than
to (arm a spade shape. ell t a lit a sma I) of white paste co medium thickness one colour on each pattern, allow
'V' for the thumb then cut fingers. and wrap around body. Texture each colour to dry thoroughly or
Separate each finger, smooth and nappy by pinching paste with fine streaking will occur. Keep the brush
round tips . Place on to a piece of foam pointed tweezers to create a as dry as possible, over-wetting of the
and curve fingers bv drawing a ball towelling-like effec t. Attach arms. paste wiIJ cause it to disintegrate.

51
Koala
Sl

in Tree

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
Make a wire support for the tree using be fairly flat and the eyes are quite far slightly. Repeat for the back legs but Boot!
hea vy-gauge wire. Make two circular apart and quite small. indent eyes leave larger pieces o f paste for the Usins
bases, wrap together with a finer­ with a small modelling tool. Make haunches, Attach limbs to koala so shape
gauge wire, twist wire together to ears as for mouse but attach sideways that it appears to be clinging to the botto
form a trunk. Divide into a fork into the head. tree itself. moul
shape. Add finer-gauge wire near the A ttach head to the fron t of the Texture fur with royal ic ing and a push
top of the tree for smaller branches. cone, not the top. Smooth edges dry brush. Make some eucalyptus
Colour gelatine paste brown . Build up together with a modelling tool. Fix to leaves and attach to hand. Pipe in Tail
the trunk with pieces of paste pushed tree at this stage with royal icing black eyes, glaze nose and when dry, With
into the wire, becoming thinner while the koala is still fairly moveable glaze eyes. tail. I
where the branches fork, leave to dry. so that the branch indents the fron t of plan:
Pipe royal icing over the shape and the koala and it fits snugly into the shou '
brush with ad ry brush to create a fork of the tree. lt wi II then appear to thick
textured finish. be clingtng to the tree and [lot simply to an
placed on it. end,
Koala
Make a greyish brown-coloured paste. Arms and Legs
Make a con ical shape for the bod y. The thumb on the pa w is fairly high
Tilt to one side slightly. Make a round up so make the (irst cut higher than
shape for the face. Pinc h out the nose usual. Make three further cuts for the
until it protrudes, pinch together at her fou r digits. The wrist and arm
slightly to narrow. The face tends to are quite thick so only shape the wrist

52

Skunk

Head and Body

Make a cone shape , upti It snout .

Jnden r eyes wi th a srna11 ba II tool.

Make a large flattened sausage for the

bod y. 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 co dry thoroughly.

Clothes
Make a norma I fri II for each ank le.
Thinly roll our pink paste and using
the pattern, cu tau t the ski rt , smooth
with large ball tool and thin all cut
edges. Slightly frill bottom hem of
sk irt 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 . Smooth seam 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
neck for 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
the top 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
push onto cocktail st ick .

Tail
With while gelatine paste, make a
tail. Roll a sausage long enough to
place up inside the skirr. One end
shou Id be {airl y narrow, it shou Id be
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

Make rounded cone shape (or bodyand (arma hole in the limbs. Support with until dry. Make a small birthday card by ToA
insert cocktail sticks where head, arms foamwhen drying then attach to body cutting a rectangularshape in whire Make
and legs will be positioned. Texture with royal icing. Attach head. paste, fold in half and leave to dry. Place
body bypinching the paste with fine Pa int message insideand design On Place
pointed tweezers. Make the head quite Honey Pot front of card. hone
largein proportion to the rest of the Make a flattened barre1shape. Roll a cons:
body. Make a tall pinch one sideo( the fj ne sausage. Join ends to form a ring. Bee of tltt
ball to form snour, indent eyes with ball Place on top of barrel. Make a label Make two ballsof paste one yellowand tcddl
tool. Make earsas (or mouse, and . from finelyrolled white pastecut into a one black. 51 iceeach ball into sections.
attach to head, texture as before. rectangle whet1 dry, paint in 'HONEY '. Reassemble to form H ballof alternative
colours. Make a ball for the head, insert C~
Legsand Arms Wrapping Paper two stamens (Of<mtennae. Roll black
Makea largecone foreach arm, pull Roll au t a piece of blue paste quite paste nnel y into strands, bend to form Spr i
out pointed end and flatten to form finely. Roll out a piece of white paste to legs. When dry, attach to body wt rh l\.hl
paw. Shape wrist by rolling fingers, the same t!;1 ickness. Placeone pieceof royal icing. g,llil
texture and place in a curved position to pasteover the other and roll together to rem
dry. Foreach leg, make a largecone, (amIone piece of paste. Cut some small Wings Pus:
flatten and pullout as (orarm to form shapes usinga plunger cutter and place Use a small rosepetal cutter. Cut two spri
foot, bend at che knee and leavea large on blue paste, these could be illa wings, dry. Paint veins;dust with gold
piece of paste for haunch ; texture. conrrasring colour. Roll again to form sparkle. Wings can either beattached
Nate: place both arrnsand legs ontO one piece of paste. Cut into a square to the body with royal ieing when both
body beforedrying so that the shape, roll up and liftor bend down are dryor the dry wings can be inserted
cocktail sticks inserted into torsowill comers to give a natural effect, support into the bodvwhiIethe paste issri11 safe

54

Clownjack­

in-the-box

To Assemble Cutout two white ovals for the eyes edge with a largeball tool. Shape
Milke ribbons and place into plaque. and curved half moon for the mouth. bottom edge to create <l na(uraleffect.
Place wrapping paper On top ofribbons. Indent wirh a ball tool for nose. Paint Cut out backof jacket and glue in
Place honey jar on paper. Fill por with on features with black and red paint , place. Cut rwo lapels. Ball to slightly
honey-coloured icing made to runour add a Ted ballof paste to nose hill cut edge. Rolland fonn lapels,
consistency, allow to drip down the side indentation. Glaze nosewith gum again to create a natural effect.
ofthe jar and onto the paper. Position arabic glue or confectioner's glare.
teddy, bee and card. Heads and Arms
Cloches Make a longsausage (or the [Inn, bend
Make <I fairly rough body. Using pattern and leave to dry. To make a wrist
cut out T, sh i rt, Place on the body, shape, make a cone ofskin-coloured
create creasesand folds in the paste. paste, push ,I cock tai I stick into the
Spring
When dry, paint on the stripes. Cur a paste and taper the end; leave to drv,
Make a spring by wrapping a heavy
long strip of red paste, wraparound the Push the wrist shape into the arm, leave
gauge wirearound a round pencil.
waist area for the trousers. To create a to drv,
remove and screw into body sh ape.
baggy effect, pull dO\~11 and stretch edge
Push a perspex tube up through the
with fingerand thumb. Cut TWO thin
spring and push Into the body, dry.
strips (or braces. Make TWo buttons by
rollmg two small balls of cream paste,
Face
flatten and indent a circle with a large
Makea ball ol skin-coloured paste. Roll
icing tube, make two holes to create a
to form neck, roll and push finger into
shank with a largeneedle.
paste to fonn a chin,
Cut out jacket-fronrs. Smooth cut

5S
 Glove
Make a hand as (orthe baby. Extend
(he wrist to push a piece ofdowelling
the end of (he glove and open up the
paste. Cut a V section from the cuff.
Roll edge to th in, push onto wrist
shape. Beforecovering the arm with a
sleeve, decide on the positionof the
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
by pushing some softpaste through a
clay gun or a garlic press, attach to
head.

Bow Tie
Roll out some green paste, makesmall
ballsof red paste and push theseinto
green paste, re-roll paste and cut out
the shape using the 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 yellow paste to medium
thickness, using template CuI five
squares. When dry. paint a design.
letterer number On each square. If
numbers are chosen, the ageof the
child could beon the front of (he box.
I
I

56

To Assemble
Pipe royal icing on edges of square, butt
edges together. Support until dry.
Assemble three sides. Pushclown on
perspex rod into cake. Placethree box
sidesaround down, attach fourth side
and lid. Makebeach ball fromgelatine
paste and paint when dry. Make a small
rag dollor teddy, prop against ball.
Attach ribbons to cake in colours to
matchclown.

57

 Trousers ­
Cu rone Bow Tie -em(Inc

\
GO Fare
I

~
Vt?SI - Cut one
Sleet'e- CIIl IWO
\
I
Jackel Fnml
Jack.:!l Back - CHI Cl11e -Cut tw(J
L -- -- - -- - - - - - -- ---LIPd _ClIt I WO

Jack illche !:lox

58
 Bramhle

Dress Bodice - C UI one

Apron Wb- Cw one

A/lyon Bow - CUI one A/lyon Skin - C ut one

Skew - C ut ttvo

Shin -Cw one

59
 Q uilt Pattern
Place baby on dolted area

./
/
/
I \
I J

\ I
\ /
/
.,/'
-: Skirt-Cur one

Sleeve-Cut WiO

OverPmny-Cur one

Over Pinny Top-Cut two

60

 LESSON 5

Tube Embroidery

& Broderie

Anglaise

/
Iced 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
Ma
De
Pricki:
Trace
Place
carcfil
L\l!\
will h
teaturl
~ll'sign
is not

Pend
Theu
overtl
witha
pastel
sllr6c
over r
lines ~
110tu'
diffic
Small
whicl
sides (
large '
effect
NoO(
desigr
rhis w
for
UI1 i
some !
shoulc
icing i
pressi
pen .F
well b
flow e
Embroidery refers to both large Before start ing a design, mix up all example, a petal may be pale at the lip pressu
com plex designs using sev e ral colours the colours and shades of icing which darkenin g towa rds th e base,
and also to the fine lacyembroidery
moti fscommon Iy used for side
you wiII be need ing. Put a srnaII
amount of a II th e co lours in pipin g
th erefore, th e pale tip should be piped
first. While th is is still wet, change to Em
decorati on wh ich are generally piped bags with a No 0 tube. Use small bags a darker colour and ca rryon piping all
in one colour. Thi s method allows the and do not more th an half fill them , in one operation. This will produce a 1. Loll
decorator endl ess scope as it can be th is allows you more freedom of smooth result and the shades will Is usee
effectively used for a variety of designs mo veme nt and is more accurate as blend well. A fine , slightly damp arran
including svrnrnetrica I patterns, you will be wo rk ing closer to the brush sho uld be drawn thr ough the create
floraL figures, crests and lettering. design . st itch es if they look une ven and any ourlin .
Once you ha ve practi sed the Start working th e design beginning Iinle peakssho uld be flattened while stitche
. stitches, any embro idery pattern can with the background , workin g still wet . If some parts need special the sti i
be used as a guide . Fabrics, wall towards the front. Compl ete one emph asis. th ey may be built up last ro
coverings and even so me china will section at a time. changing th e shade sligh tly by using extra pressu reo ofl ul1J
give many lovely designs which may where necessary before start ing The d
inspire you to create patterns. anothe r pan of th e design. For the lir

62
IS.
S'

Marking out the

Design
Pricking

Tmerthedesign onto tracingpaper.

Pl:lCt'rhisonthecakeor plaque and

carefullyprick rheoutline with <l pin.

1),1 notmark too many details as thi s

will be contiIsing andthesesmall

tl'atu fl'~can easily be copied when th e

J~~jgn ISalmost fini shed. Tl)is method

i, not ~ui ta b lt· i(Irhardsurfaces.

Pencil Tracing
TIleusual methodof tracing IS to tum
over rhe de:iign, re-draw on the back
with. sugarcrait pen, orwith nun-toxic
fl1S1d pencil, place this side on th e
turf,lce tohe decorated and trace again
ovcrrheoutlme. Th is leaves the fine
Iinc~ (lf[hepat tem on the surface. Do
IliltlLo,('VCl)' ht:""1,!inesas these willbe
Jifficult toconceal and could smudge.
Sm~l ll piecesoi outline embroidery .
which all: mainly used to oecorate tbe
sides oi a cake or scattereG amum\ 0\
Ja ~!;e decorauon to give a soften ing
t trt'Cl an: usually done freehand with a
NoO or00 Tube. The focal points of the
th ign mal' beprickedout wi rh a pin,
lh i~ will ensure that the side motifs look 2. Satin Stitch known as a lazy-daisy stitch and is used
uniform even though there may be These are straight stitches, worked forsmall flower petals.
!olllc slight variations . The icing nozzle Together to form a bandor shape and 7. Herringbone Stitch
should gently scrape the surface as the are used forsmall or narrow shapes. A series of diagonal linesoverlapping at
icingis squeezed out using an e ve n 3. Fishbone Stitch the top and the base.
pressure and should be held rather like a Made up of lines piped diagonally 8. Fern Stitch
pen. Fresh soft icing which has been towards the centre and repeated the A simple arrangement of three stitches
well beaten should be used. th isshould other side in reverse direction. Useful worked at angl es to each ocher. Useful
flow easily without needing too much (or lea yes or feathers, forgrosses o r leaf veins.
pressure. 4. Couching 9. Running Stitch
One or more threads are laid down and Shott stra igh t stitches with a gap
stitched into position. This can be used
Embroidery Stitches where a ve ry bold outline is requ ired .
between th em. Useful for outliningor
for filling shapes when a very light effect
Th is stitch isused bye mbroide rers is required.
I. Long and Short Stitch when the yare using metallic thr eads 10. Star Stitch
ISILSCd tOflll a largeshape with an like gold or silver and would be Straight stitches radiating from a
arrangement ofstitches blended to appropriate in orienta Ide signs. central point.
create as rnooth surface. Pipe a fine 5. Feather Stitch 11. Stem Stitch

outline. First row.rnake long and short Pipe a U shape with the next on e Used forstemsand outlines.

stitches. Second and successive rows, starting below and CO the centre of the 12. Cross Stitch

thcstitches are all the same length . The first stitc h . The traditional stitch (orsamplers.

lastrows needtidying up so another row 6. Chain Stitch Used for outlines. fillings and borders,

d longand short will fiII the spaces left. A rowof chains makesan interesting 13. Erench Knots

Thedirection of stitches should follow outline and can be used for stems. A Pipea tiny bulbof icing. Used for

rhe lines ofthe design. long chain stitch worked singly is stamens or decorative (i I! ings.

63
Tube
Embroidery

or
... - ­
1 Outline the design is
• embossed on to t he soft
sugarpaste. 4.
petals

Stems and leaves which lie

2
• behind the flower are
completed. Leaves in chain stitch and
sterns in stem stitch.

Hard

3 First part of the petal

• completed with long and short
stitches using pale pink .
Pansu

64

 I
_J I

4 Centreof the petal completed in darker colour

• andblended at the change-over poin t. Complete
petals at the hack first.
5 Design iscompleted byadding the petals which
• appear to be in front. The centre is piped in black
sann stitcb and stamens around the edge are French
Knots .

"'.

- 1I

'\d
L...­

Harebellsworked in longand shari stitch. Crewel work lilies.

rt
Pansiesworked in long and short stitch. Crewel work floral plaque.

65
 his is also known as eyelet, Madeira or
Broderie T Swiss work. Designs usually consist of
simple floral motifs as the round and oval
holes lend themselves so well to floral

Anglaise formations. Work on fresh soft sugarpaste.

Prick out focal points with a pin .

Take care when pric king designs not
to Jean hand on the surface of th e
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 tub e. To give a perfectly
round circle, outline half the hole ina
clockwise direction then pipe the
other haIf in reverse direc tion.
Neaten the take-off point with a
damp brush if necessary. Traditional
broderie angla ise has a sea Iloped edge
which is sewn with buttonhole stitch.
1.

This effect can be achieved by piping

a small op en zig-zag.

2.

3.

66

If

e.

not

.h,
~ a
edle
nd

gthc
n
roles
::rly
e ina

mal
Design prickedout through the
edge
itch.
1. pattern with a pin.
ping

....... ,,,..• ......

," , , '
'
.
,•\ ..
. ~.
"
•
.' '."
.

2.
Holes are made with

paintbrush handle .

AII holesare out! ined wi th

3.
a No0 icing tube.

67

 4. Fine lines and dots are piped in

CO complete patt ern .

Coat
colou
temp
foldir
about
of the
Ro
thinh
carefi
mai n
parte
shou
is pia
easie
c
5. Edgeis worked in a zig-zag to
represent butto nho le stitch. suga i

68

t
Lazy Daisy
Cake
Coat a 28cm (11in) round board wirh
coloured sugarpaste. Cut a scalloped ­
template from a 28cm (11 in) circle by
folding into 16sections and cutt ing
about lcm (lfzin) awayfrom the edge
ofthe pattern TO form a curve.
Rollout whitesugarpaste quite
thinly. Cutscalloped shape and
carefully lift onto the board. Mark the
main holes for broderie anglaise using
pattern as a guide. This process
should be completed before the cake
is placed on the board as it wi II be
easier to make 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
cake and shou ld also have 16 seallops.
Mark out the patrem and make the
main holes. Bypressing right through
to the coloured paste, the deeper
colour willshow 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 ou t the pattern. With
cake tilled away from you, pipe the
curved lines. Pipc daisy decora t ion.
Pipe snailsrrai Iaround the base of the
cake. Attach bands of ribbon around
base and makesmall bows using two
colours of ribbon together. Add top
decoration offlowers or an omamen t
to suit the occasion .
 o

~Oo ~
~0c? 0
D 0
o{f 0
o
00 0
o 0

~()o 0

Q~ DO~
O~ 0
0
~CJo°t6 t7'#oO~
\:JtJCb 00.
00

0
o 0 0 oq, ~~Oo. L?~
vQ\:j {JO"S 0

0° 77V,O
0

4J~~ 0
0 o
o
\:5
c»
0
0
C'::::;.
0

0
o 00~
o 0
00° o 00 0 0 °
o

o
0'

o
o

oQPo ":;)Dd

0 ,o9~ ~ ~odLJ9.~
C()r\u u 'oQ~ 00d
Tcrnpk
70
Twpultcsfor designs illustral cd in rhi slesson

71

 ~Oo

000
°0<:)

O
~ (7
000 ~
0
"">.
()~

() 0
~oo~
I
0t:l000
~_o
o~ 000
~ O/Gr­
~

oo~

Tube EmlJroidery
Templatesfordesil,'7l.\ 1Isedin this leSSO ll
Tube Embroidery
 LESSON 6

Brush
Embroidery
 T his is a versatile technique whereby the ,.
Brush decorator can produce attractive designs
quite simply and quickly. If a little more time
is taken for highlighting and shading the

Embroidery design, the same method can be employed to

create a beautiful, delicate finish.

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
si~
su
tH

d
sil
a[
tF

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! y def ned it
B.
11
dl
0:
51
H
II
will show up quite well by contrast of in the direction of the natural veining
light and shade. of petals and leaves. However. the
A more dramatic effect will be most beautiful designs are those in
achieved by piping a white design on wh ich severa I cornplemen tary colours
a dark background, or a dark brown are used and delicately highlighted
design on a cream background. In this with diluted food colouring after the
case the pattern is defined by varying icing has completely dried.
the densi ty of the ic ing and brush i ng

76

the
igns
time Transfer

d to
ofDesign

Onsoft, fr~h sugarpasre it is best ro sable brush as this willbe firm and the leafand fadingaway to a thi 0 fi1m at
emb~ thedesign byplacingthe springy and willgive better results than the base. Where the leaf isserrated. it is
pattern undera pieceof perspexor glass a cheap bnlsh with weak bristles. Use a more satisfactoryto pipe a small blob of
wh lCh shoulJ be larger than the rop of NoZ or 3 for brushing the icing and ici ng at each point within the outlin e
the cake sothat the surface will not be highlighting and a 2/0 or 3/0 for adding instead of a continuous line. Take care
marked by theedge of the perspcx. If finedetail. to conceal transfer lines with your
glass isused itshould be bound with Use fairly soft, fresh royal icingor, if outline and to brush the icing in the
srrung tape to prevent cuts. you need longer co workon the design direction of the natural veining on
Outline thedesign by pipingon tOP beforeit driesout, add about one petals and leaves. •
uf the perspex witha No 0 or I tube and teaspoon of clear piping gel to every As youare brushing from the
wlureicing made without glycerine. Do fourtablespoonsof icing. The ge Iis background towards the front, a little
notpipeinsmall details as thesecan be seldom necessary, so try working icing may be inadvertently brushed on
addcJ later. Allow to drythoroughly, without it and then compare the results to the area immediate!y in front of the
This method will producea reverse when the gel isadded. part on which youare working. This is
imageand ifthis is undesirable, the not important if it is onl ya light f 1m of
dL'Sign should be turnedoverand re­ icing, as rh iswiII be covered when that
traced on the back before placingunder section isoutlined and brushed.
rheperspex. Working Brush The flowers in a design are usually in
Embroidery front of the leavesnod the back petals
Pencil Transfer \Then preparing to start a multi­
should bedone firstso that the front
petals will be emphasised. The furled
TIlis rnerhod, which seems to be coloured design, fillseveral small icing edgesof a flowershould be left until last
popular, should be verycarefully bagscontaining a No 0 or I rube with and completed bypiping a heavy line
worked, asa mistakewiII resultina dark all of the colours you intend to use. k all around it and infillingwith icing.
line in thewrongplace which may be this entai Isusinga lot of expensive Light brushing with a damp brush will
verv dilficult to conceal. tubes youcan try usinga finn bag smooth the area. Finallypipe in any
Trace over the pattern with tracing without a tube and carefullysnipping stamens. Leafveins can be defined by
paperand a medium hard pencil to give offthe end of the bag after filling it to either brushing awaythe wet icingor by
a clear, sharp line. Tum over tracing form a tiny hole about the size of a No 1 piping them in with a verynne tube.
raper andre-tracethe pattern with a tube. The bag must be changed as soon Shadows and highlights shou Idbe
non-toxic pencil or pastel. Place this as the hole becomesdistorted. Keep palmed in when the icing iscompletely
side onthecake and usinga smooth rip yourcolours quite pale as they can be dry, usingas little moistureas possible.
suchas a ball point, lightly trace on to emphasisedwhere necessaryby Water may be used to dilute the food
the cake. touching up when the work isfinished. colouring but care should be taken not
This method isuseful where the Work from the outside of the design to get the icing too Wet. A spirit such as
deszn ofthe tOP continuesover the towardsthe centre, dealing with the gin or vodka ispreferableas this will dry
siJc ~fth ecake . The icingshould be background firstand workingon only immediately. Beforebrushing the
allowed to harden for a few daysbefore one smallsection at a time. The colour onto the icing, tTy it out on a
tracingtoavoid making pit marks. background should be light and delicate spare piece of icing as the wrongcolour
so that it will not over-power the detail willbe impossible to remove. To take
in the foreground. awaythe fl at look from a leaf, brushOne
Pricking The paintbrush should be damp. If it side darker and always darken the same
TIl is isonlysuitable forverysimple istoo dry the icing will become rough side [0 show that the light iscoming
designsor freehand workwhere it is and uneven. If it is too wet it will make from one direction. The baseof a petal
onlynecessaryto markpositionsof a puddle which will spoi Ithe surfaceof willbe a deeper colour than the tip. Use
smalldecorations, as the result may nor the cake. The brushshould be held at an almost dry brush and very light
be clearlyenoughdefined for accuracy. an angle of 450 and long strokesshould Strokes to obtain subtle shading.
It is not a very successful method for use be used which start at the edgeof the
eining onhardicing. petal or leafand continue to the base to
the avoid ridges.
=in Pipe a I ine around a leaf in the
.o lo urs Materials background men, before the icing
ned ANo I rube isusedformost designsbut dries, quickly pipe another line within.
.r the where the workisverysmalland a large Using longsmooth strokes, brush the
build-up oficing isundesirable, a No 0 icing through both lines towardsthe
should beused. Choose a goodquaIity base, leaving more icing at the edgeof

77
Working
Brush Embroidery

Outl ine leaves in th e background. Pipe inner line,

1. Mark o ut design byembossing
or tracing. 2 • complete each section first. Brush through from
tip to base with long smooth st rokes usin g adamp brush.

3 Pipe and brush through leaves

• in the foreground. Pipe in
calyx of bud .
4. Brush flower petals lea ving furled edge.

Cover ca
template
mark inn
a scallop.
scallop 0 1
a scriber.
design by
side rnoti
snailstrai
Camp

5 Pipe furled edge of petals with

• heavier line, smooth with damp
brush and add details.
of the cal
for side et
done at e

78

 Magnolia
Cake
c,
Cover cake with sugarpaste, Cut a
template to (j t the side of the cake,
mark into 6or 8 sections and cutin to
,1 scalloped shape. Mark line of
scalloponro the side of 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
lp for side embroidery, which iseasier if
done ateyelevel.
Make flounce using a 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, cu t
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 frill and neatening the
top edge. Repeat all around cake,
tucking in ends of the frill at the
points. FinalIy, pipe a fine edging
around top of the flounce to disguise
the join.
80

 yudhacookbook.com

82

LESSON 7

Lace
 ine lace makes the most beautiful and
Lacing Fdelicate decoration which has always
been prized for adding a touch of elegance to
a garment, raising it above the ordinary level.

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
weak sp
broken ,
lines f
make it
tha n yo
Leave tl
pale tt e '
loosen \
attac h t
icing wi
gen tl y n
pos irior

C are of
Fin e rul
e ve n w]
it is best
swea ter:
slee ves :
at all tin
If rhe
soa k an t
bru sh . F
icing. N
pi n as it
tu be .
In recent years there has been a flounces, to add interest to a row of piece of trac ing paper over th isshape
revival of interest in lace-making as a ribbon inserts, or to surround a and improve on it in pencil, alterin g Storage
craft and of course, it has always been picture Or floral arrangernen t on top the lines until you are satisfied with To store
popu lar for wedd ing dresses. It follows ofa cake. Luger pieces can be placed the shape. Fold the tracing paper in required
naturally that lace work is also a very close together around the base ofa half and trace off the othe r side which lay flat il
popular form ofcake decorat ion, ca ke at an angle of 45 0 , tab ng the should rnarch pe rfect Iy. absorbs I
since the addition of finely piped lace place of a flounce or ex tension work. air will c
EQUIPMENT

wi IIadd de Iicac y to many designs. The icing must be very strong and therefor
Waxed paper or baking parchment

Although it is very fragile, when it is you will have mor e success by using cupboar
or

made cor rec tly, it is qu ite easy to egg whi te in icing for this work . some sill
thick transparent plastic sheet.

apply to the cake and transport availabl,

Several icing tubes (preferably No

without breakage. Small lace pieces Designing Lace indicarn

00 or 0 for delicate lace) . No I can

are commonly used as an edging To de sign pieces of lace, draw the when th
be used for outlining large pieces.

above a border of exten sion work or shape ofone side qui re roughly . Lay a be dried
84
 Method

ofWork

Method
Tape the pattern to the flat board and
stickthe waxpaper on top with dots
of icing .
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 yo u
would hold a pen, with the tube close
rorhe pattern. Pipe over the design,
bur do not actually scrape the surface.
Even pressure is very irnportant - roo
much pressure will cause uneven
lines, too little pressure will produce
weak spotswhich wi II be easill'
broken. It is important that all the
lines of the lace touch as any gap will
make it weak. Pipe man y mare pieces
than you need to allow for breakages.
Leave to dry. To remove , slip the
palette knife underneath to free it or
loosen wi th a dry pa in tbrush . To
atrach to the cake , pipe a fewdots of
icing where the lace is required,
gently touch the lace to the icing and
position at 450 •

Careof Equl prnent

Fine tubeswill easily become blocked
even when the sugar is findy sieved sO
itisbest 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 c lear a tu be with a
pin as it could damage the end of the
tube.
Storage
Tostoreany Iace wh ich is not
required, leave on the wax paper and
lav flat ina box with a Iid. As sugar
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
indicating variety change colour
when they become damp and should
bedried out in the oven.
Colouring Lace
Samet i 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 th is 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
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.

85
 Border 1

Cut a strip of fine net deeper than the p

motif. Place the pattern on a board,
cover with transparent plastic film and ps
stick the ncr on top with dots of icingor au
pins if the board issuitable. The icing fo :
should be quite soft for thi s as it will or.
break away from the net if it is too stiff, tlc
but it will need to be £inn enough to USI
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 scallopswith small pointed
scissors. TI1is border has small pleats
between motifs to give fullness.These
should be stit ched to hold in place. The
net shallld be bent over the fingerto
take away the stiffness. This wi II enable
it to flounce nicely. Pin the completed
sui p to the cake and pipea neat Iine to
secure the net to the cake. Removepins
when dry. SmaII pieces of lace makea
pret ty edge to hid e the join.

Border 2 Flo
Th is border is piped the same wayand is The
appliedstraight to the cake by piping asbefa
with royal icing and attaching curve ~
separarely pipe-d Ieee pieces over me[Or cake, t
edgeof the cake. icing. .
icing is

86

 Floral Motif 1
Place waxor plastic filmover the design
and layfine net an top. Using medium
peak icing and 0 or 00 tube pipe all the
outlines and fiII in the solid areas . Dry
for severa Ihours. Using poi nred scissors
ora sharp scalpel, cut around the
flower . These can be fixed to the cake
using dots of icing or egg white.

II

Floral Motif 2
The fuchsia motif is piped and cut out
asbefore. It is 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 is dry.

87
Side
Decorations
Side 1
Here small lace piecesare used to
accentuate a heart shape which was
scribed On to the side of the cake. The
spotted decoration couId be replaced
with a monogram or floraldesign.

Side 2
Largerpieces of laceartached to the top
of a band of ribbon and leftsuspended.
As they are a little heavier than the
small pieces, they shouId be supported
fora fewminutes until (he icingisable
to hold them.
 Side 3
T\\'MO\\'S oflaceareattached (0 the top

ofa.rraighrtlounce. The top rowof

lace piece. aresmaller than the

llndcmc<lrh row. Small plungerflowers

arc an added interest.

Side 4 -

. . ,

TI1LIsidc decoration is based on a band ;_;> ,:•. ".o;c -i- o.,:;,:i;.;<·'o -_.- -.'.:.~;:..<;-'::-:;.;>:-c_:-~-_ '__ :.::.,;-;~ ..' _.,." __ <,.~
afribhon<It the centre with embroidery
and lace aboveand below.

89

Cockerel

This was r iped on plastic film which

haJ been taped over the design. AlI <i
rhe coe n areas must befilled in as
illus rrated to srrcn gr hen rm- figure . Dt)·
well. remove from the fi lm by dra\\ing
[0 the edee (,f the tableand ea,ingthe

frlma wav. Ca re m~t be taken ( 0

SUJ'f'l'" all partswith the hand. Anach
rocake r.lf' with small d!'l(sii icmg.

Girl
Pipe' as (o r rhe cockerel. All areas ot Inc
J~ and lIprun must he fil1t"11 In with
r iping. It isbetter to ri pe the facial
features and the hairdrrectlvonto the
cakealter the figure has been
tra n..,(t"rreJ into fll,Jl<il ti on .
 BlueCake
with Flounce
Pipe [he figure of the little girl on wax
paper using the pressure-piping
technique, allow rodry. Ifyou wish to
inserrhe figure. cover the ropofrhe
cake wi rha disc of sugarpasre exac tlv
the same size as the cake. Using a 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 in the middle to make the shaping
easier. When rhe covenng isqu i te
smo oth , dropina disc to fit the hole.
Stick rhe 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 butterllies are 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 if appropriate.
The cake isillustrated in full on page 84.

91
Starting with Scrolls

Startingtvith HalfCircles

Arrangemen! of Petal Shapes

Variations on Hearts

BClled on OvalCentre

92

 Dmwing a rowof lace pieces onto squared paper

or graph paper so that
the pieces areallthe same size.

CJ

93

d
 Templates forCockerel andGirl
94
 LESSON 8

Extension
Work
 LESSON 8

Extension

Work

 xtension work or curtain work is a very

Extension E delicate form of decoration. Simple

extension work consists of a bridge which is
formed by piping a series of dropped loops

Work with subsequent rows piped exactly on top of

the previous row.

The bridge supports very fine vertical working out the design (or a tiered approximately 2.5em (l in) . The top ren
lines which are piped from a strarght cake, the same method is used for edge of the template should now be slop
or shaped line previously marked on each cake regardless of size, the drawn and cut into the required burs
the side of the cake and attached to scallops will be the same width on shape. For a straight edge, decide the the I
the bridge at the base. Use a No 0 or each cake but the number WIll vary. depth of the extension work and cut T
00 tube to achieve this fmgilc effect. the template in J straigh t line. Hold folk
Patience is needed to produce the Preparation the template firmly against the sideof
neat, even finish whicl. isessential in Before commencing the extension the cake or secure with sticky tape.
work of a high standard and the work, check that the coating of the Mark the line for the top edge with a •
decorator should practise using a fine cake is smooth and free of blemishe s
tube before attcrnpring this work.
The extension work should be
right down to the board as very fine
work will nor lude any major faults III
designed 10 complement the shape of the covenng, Check that the SIdes of
needle or scriber. Mark the positron
for the base sea I lops by inserri ng a
needle at each fold in the paper. Pipe
a snailstrail or row of beads around the
1
the cake and any other decoration the cake are quite straight. base of the cake with a No 0 or I tube.
which is to be used. Therefore, all of Jt iseasier to pipe curtain work
the features on the cake must be when (he cake board is not too large The Bridge
planned together to make a balanced but it must be large enough to protect Put the cake on the turntable or
design. A narrow straight band of [he bridge from accidental knocks. elevate to eye level. Tilt the cake
extension work WIll iit in with most away from you and pipe dropped loops
cakes whatever their shape and size Icing to form a bridge with a No 0 or I tube,
and will allow plenty offreedom to Good extension work requires good using the pin marks as a guide to the
use lace, flower or embroiderv work. quality icing which must be of the high points of the seaHops. These
An ornate section of perhaps tiered correc t consi stencv, weII beaten and loops should not touch the board and
extcns ion or overpi ped extension free from Jumpsor specks which could should also be clear of the snailstrail ,
work with a lace edging isan block a fine tube. The addition of a they should lie securely again st the
important feature on its own, and to little liquid glucose will give the icing side of the cake. A second row of
show up its delicate beauty, the rest of more stretch, which i~ a great scallops is piped exact lyon top of the
the deco T<1t ion should be simple. advantage when piping the fine first row and the bridge is built up in
Ifthere is to be a straight band of vertical threads. Use I rnl (1f4tsp) th isway, drying each row thorough Iy
ribbon above, the curtain work will liqUid glucose to each egg white used before another is piped. unti I
look better if it has a stra igh[ top. If
the top edge is to be shaped with
and stir into the finished icing. To
make the icing stronger, the egg
approximately six rows have been
piped with a No I tube or ten rows
PL
points or seallops and decora ted with white may be left in a greasefree glass with a NoOtube. There shou ld be no st1'
lace, both should be worked out bowl for about 24 hours at room gaps between the rows of scallops as Thi~
together to be sure that the lace is not temperature. Sieve the icing sugar thi s will make a weak bridge. If and '
too Wide 10 fit small spaces. The several rimes through a very fine sieve several rowsare piped without drying brid,
extension work is not usually any or clean nylon stocking. This is J very each row, the whole bridge cou ld sag
deeper than one-third of the depth of laborious task but well worth doing or collapse . When the bridge is quite
the cake, ot herwise it looks out of when it saves the frustrat ion of dry, the piping of the curtain work
proportion. J( is also more difficult to blocked tubes. The icing shou ld be can be started.
pipe very deep lines as the pull of smooth and beaten to medium peak . Tilt the cake towards you to
gravitv may cause threads to break. Experience will show what is the prevent the threads from sagging
Where there is to be a flower at the correct ccnsi stencv, if it is roo firm it towards the cake . Commence pipmg
base of The cake ora very long spray will not 110w easily from the tube but straight I ines by touching the tube to
trailing low over the side, the if roo soft the drop threads will have a the marked top edge and squeezing
extension work could be designed in tendency to break. out a thread wh ich is then secured
sections with a gap in the appropriate under the bridge. The next thread
place or have high and low points so Templates should be piped very close TO the first.
that the flowers could be positioned Decide on the type of extension work It is important that the spaces should
above the low point. A square or to be used and make a template from not be wide enough for another
hexagonal cake is ideal for tiered greaseproof (waxed) paper the same thread to be fined in between. Keep
extension work as this makes a very length as the circumference or one the bridge clean by wi ping off any
good comer design with two or three sid~ of the cake . untidy ends with a damp brush. The
rowsof ex tension work, one above Fold this strip in half and repeat threads must be piped straight and nor
The other at (he corner tapering down several times until the section is the lean i ng to ei ther side, these should be
to a single row in between. When right width for the base scallop, checked every few inches and She»
andl
96
 rectified if t he y are begi n n ing to I . Pipe a dr opped lin e wit h a fine 3. P ipe a row of rtny dors a t the ba se
slope. If a tube gets blocked o r the bag tube . touchi ng a t t h e hi ghpo in t of of th e drop lines fo llowing the line
bursts. do n OI put the iCHl g back in the bridge and following the line o f of the bridge. T he top edge is
thebowl, discard and use fresh ic ing. th e br idge . neatened wit h finely pi ped dots o r
To finish th e lower edge. o ne of t he 2. Pipe tur y lo o ps a t t he base of the loops o r lace pieces.
fi ,llowing methods may be used. d rop lines.

TheBridge

Plain extension workwith a Bevelled extension work.

straight top. This shows each row ofbridge starting in th e ce n tre with a
Thisshows rows of bridge wo rk pi ped one o n cop of another short lin e, a longer line is piped on top in the next row
and the verti cal lines piped from the top edge. o ver the exte ndi ng the same distance each side of th e first Iinc , each
bridge and sec ured undern eath. row is longer unri I the brid ge cove rs the whole sec tion .

Overpiped extension. Ups ide ,down bridge.

Showing build upof the first bridge, th e ve rtica l drop lines This is piped with the cake upside down.
and finally the second bridge with overpiped curtain effect.
97
 Basic Extension Overpii

Work Work

Piped with No 0 tube and finished wuh TI1C tem plate

drop loops and lace pieces. top edge is CUI
same width as
usual wayand
bridge is pipeo
first and follov
Wh en 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:

Extension Work PlainE:

with a Shaped Top Ribbon
The template is made by marking the Narrow ribber
basescallopsas before and cutting the cutting the rib'
largescallop at the top, the width of the piped lines
two basescallops, Pipe the bridgeand of icing at the I
curtain work as before and finish by between each:
piping hai lspots ev en Iy ov er the finished with c
surface. 111is must be done with a very from the cake.
light touch o r the threads willbreak. This isachk
TIle top edge LS finished with a fi ne towards you ve
snailstrail and the bottom with more gra vity to pull I
tiny dots, cake. When t~
dots on them tl

98

Overpiped Extension
Work
TIle template IS made as before but the
top edge iscut into points, each one the
samewidth asthe base scallop. Pipe the
usual way and allow to dry. The second
~ri Jgc i~ pipedexact!y the same as the
firstand following the same lines.
Whcnall the rows are dry. the diagonal
Iincsofthc overpiping aredone by
tiltingthecakecoone Side before
pipinginthe direction the c"ke is
leaning. Tilt the cake in the opposite
direction to pipe 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 attach i ng with a dot
of icingat the top and the bottom
between each scallop. TI1e top edge is
finished withdrop loops hanging away
from the cake.
Thisis achieved by tilting the cake
[awards you very steeply. allowi ng
gravity to pullthe loops away from the
cake. When the loopsaredry. pipe (I ny
dotson them to decorate.

99

 Diagonal Overpiped TiE

Extension Work We
111is is a little more diffi cult and plain Theil
extension work should be perfected three ­
before arternpting it. requin
Pipe t he bridge as before and dry. Ma
Tilr the cake towards you and at the A t the
same. time, put a prop un dern eath one sca llo]
Side so that it islean ing sideways. This of rhe­
willallowthe diagonal lines to hang but an
straight. Pullout a strand of icing from sha pe
the cop line and attach it to a point on Pip
the bridge about 5mm (1/4 in) to the left pipe v­
or right of rh is pa in t. Pipe all linesclose 111c sc
together and evenlvso tha t the angle lo ops«
remains the same all round. Dry. drop Ii
Remove the prop. Pipe a second bridge Pipedl
over (he (OP of the first On C. When this design:
IS dry, place the prop the ot her side of bridge:
t he cake th en overpipe wi t h diagonal
lines in the opposite direction .

Bevelled Extension EXl

Work witJ
Th e base lm es for this type of extension Mark 1
work CI te straight instead ofscalloped. rhe shr
The first line is very short and centred bridge
between the section marks. The second placim
row i~ piped on top and <-l little longer, hoard(
ex tend ing the same distance ei rh er side rhing ,
of the flrstlme. Each line of the bridge iccd se
is piped a lit!Ielon ger and the last line cove rii
ex tends across the whole section. The usual \~
finished bridge is in the shape ofa righ t-s
crescent . Th e dropped hnes are then ex tcns
piped in the normal way.

100

Tiered Extension
Work

tOI
 Bells
Makea template in the shape ofa bell
and mark the designon the side of the
cake. Tbe basesof the bells <Ire pipedas
E
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
piped byrunning drop lines fromtop to Thcb
base, following the line of the bridge pipinl
and this automatically fonns the curve feathe
of the bell. Pipea largebulboficingat rechrr
the basefor the danger. overa
the ba

Feath,
These
flower
start fr
fromtl
indivu
Curl tl
the ler
startin
are stil
lirtle e
Extension Wark in the]
body. I
Suspended on Points curl of
For this typeofextension work . the Thebe
board should first be covered with a and a d
thin layer of paste. The coveredcake is basic sl
placed in positionand a fine snailsrrail petals \
piped around the baseof the cake. shr cdd
Usinga template mark the place where fringe \
the extension will touch the board, overlap
about 8mm (3fsin) awayfrom the cake Compl
and the normal width (ur the scallops. these f(
Marka straight Iine forthe top. Turn previot
t he cake upside-down and elevate it so head . F
that the board surrounding the cake a fine b
can be clearlyseen. With No I tube, blosson
pipedropped loops from the board, the bru.
suspending them from one mark to the create t

~" "Ilf ~
next . Allow to dry forseveral hours surroun
before turning the cake upright. Leave into the
until next day before pipingthe vertical The
iii 111/ 1111111'1!! 1111" lines. Pipe the fine threads from (he top
line and ending just belowthe arched
by mak
wire to
loop which is standingon the board . been tal
Care should be taken not to knock smaliesl
"\ these loops as they cannot be repaired and am
unless the cake IS turned upside-down for the c
again. When the drop threads are quite Cut l.
dry, pipe on decoration ifrequired. vein an,
Fi nishoffthe baseof the drop threads flowers:
wi [h tiny dots . TIle top isalsofinished Stick th
with dots, piped elmer side of a band of icing. L
ribbon which was applied to the cake securing
beforethe extension workwasstarted. the brar

102
 BirdCake T h is cake has the theme of birds running
right through from the bird on the branch
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 was made by

piping the basic shape minus the tail
feathers, using the pressure piping
technique. When dry. this was turned
over and th e same thing was piped on
the back.

Feathers
These are made (rom thinly rolled
llower paste. To apply the feathers,
start from the tail. Cut out a template
irom the pattern and cut the
individual feather s with a sharp knife.
Curl them sligh tl 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 of the feathers until they are dry .
The body feathers are much smaller
and adai sycutter was used to cut out a
: ...
basic shape from which individual • ,. ~"'\ ..YT­

petals were cut. These were then

shreddedwith sma ll scissors forming a
fringe which was then stuck on,
-----­ -
overlapping the tail feathers.
Comple te the body by sticking rows of
these feathers $\ightl Y over lappi ng the
previousrow and work towards the
head. Paint the eye and the beak with Filigree Birds Lace
afine brush. The backgrou nd Place wax paper over the pattern. Pipe pieces of lace in the feather
blossoms were piped freehand using sec ure with small dot s of icing, pipe design making more than you need .
the brush embroidery technique to with a 0 tube. The central flower and Fora delicate effect use a NoOO cube.
create the illus io n of the bird being the neck ma y be overpiped to give Pipe extension work with a NoOa
surrounded by blossom , di sappearing extra st ren gth . Pipe more than you tube, keeping the threads very dose
into the distance. need as they are extremely fragile . together. When dry, pipe dots across
The hawthorn blo ssoms were made the bridge to neaten.
by making a tiny calyx , attaching a Extension Work Remove filigree birds very carefully
wire to which cotton stamens had Measure the circumference of the from the wax. A cranked artist's
been taped. Petals were cut wi rh the cake and Cut a strip of greaseproof pa lette kn i fe is usefu I for this purpose.
smallest o( the miniature rose cutters (waxed) pape r to fi t exact! v- Fold into The birds have to be leaned against
and arranged around the sra mens as even sections until you have the the low areas of the e xtension work
(orthe dog rose. de sired width for scallops. Draw the and secured with tiny dots of icing. A
Cur leaves from template, shape , shape required for the top, planning dry paintbrush is useful to help
vein and attach wire. When dry, bind the low points so that they are the support the birds until the icing is dry
flowers and leaves to form a branch. same height as the filigree birds. enough to hold them.
Stick the bird in position using dors of Using the template, mark the de sign A ttac h lace pieces wi th dots of
icing. Lay the branch over the bird. on the cake . Pipe fine snailstrail with icing of tbe same colour. Pipe a neat
securing with icing. Pipe little feet on a NoD tube . Pipe bridgework with a row of tiny dots just above in a slightly
the branch. NoD tube as previously de scribed. deeper colour than the main coating.

103

 ( deSI'Oe-:l l<_ !LIed in tl1is lesson

Temp!ates Jor

104
 LESSON 9

C reat ing

Embroidery &

Lace Desig ns

 mbroidery and lace are of great

Tube E importance in the creation of a beautiful

cake which will form the centre-piece of a
wedding or other important occasion.

Embroidery
Th ishas become suc h a popular form
of cake decorat ion t ha t the same He
designs appear with monotonous This I
regulantv and, whilst still being very from:
skilful, are no longer remarkable. rraceo
Origina!i rv is all important in of the
ma king ani rnpact and, a I though you th e b]
ma y have adapted the design from drawn
another SOUTce, your interpretation in cleare
sugar wiIJ make a fresh original design reduc:
for your cakes. Insread of always 111ee;
copying designs from cake decorating sarin s
books. it is exciting to look at other knots,
sources of inspiration such as dress otube
em broidery, wrapp i ng paper, C3 rds
and lace wedding veils.
The following examples have been
taken from some of the se sources .

Bird and Floral Bra

Branch Plaque All oft
fromfa
111 isdesign wastaken from a Ch inest handk,
fringedstole. It isworkedentirely in blouse ,
bands ofsarin stitch. 111etracing was done, "
taken from a photograph and was very The rrt
small. It wasenlarged using the grid plaque
method then Jigh t Iy traced on to the few hOI
plaque using a non- toxic penc i I. A to CI'3Zt
largerversion of this design would make Focalp
a good top decoration (or an embroidery the par
ent husiast or perhaps for a man who holes IT
considersspraysof flowers to be too Lesson
effeminate for him. previoi
the S;lIT
design I
This
of rnon
'l
I
Toadstool Plaque cmhelli
The toadstool caps are worked in long maybe
and short stitch , the stems and leaves in add rno
sarin stitch. the blackberriesand small haveth
stonesare made up of French knots, the motifs r
largerstones in satin stitch , grasses in
fea ther srirch.
The background ispiped first,
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 be suitable for the top ofa cake,
or, ifreduced in size, would workwell as
a sidedesign.

106
Honeysuckle Piaquc
This honeysuckle design was taken
irom a blouse; the design was rough Iy
traced by placing tracing paper on top
of thefabric and tracing through . Using
theblouse for reference, the lines were
drawn over with a pen to rnake them
clearer. The design did not need
reducing or enlargingfor th is plaque.
Theembroider)' was executed with
satin stirc h, stem stitch and French
knots, usingmedium peak icing and No
Otuhe.

Broderie Anglaise
A 11 ofthe pattern examples were taken
from Fdbncs, tablecloths,
handkerch iefs, table napki ns and
blouse colla TS. A complete rracirtg W<lS
done, asfor the honevsuck le plaque.
The traclng paper W<lS placed on the
plaque which had been left to dry for a
few hours but wasstiII soft enough not
to craze when the holes were made,
Focal points were pricked with a pin,
thepartern was then.removed then the
holes made with a brush handle as in
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 by a curved line,
embellished with leaves. This border
maybe adapted for any size of cake, JUST
add more flowers to each row tint i 1you
havethe correct size. Try using other
motifs[0 make your own design.

107
Brush
Embroidery
Rose Design Ent
T aken from wrapping paper. The
ind ividual flowers were attract:ve but
Red
did not (OM a compact design suitable
for a cake so they were traced of(
separately and re-grouped. Method o(
work asdescribed in Lesson 6. 1. :
transfe
insertu
soft pel
Draw <l

2. ~
design '
rhe orig
nurnbe
Butterfiy Plaque rccran p
on to rl
Work the background first, then the make ti
flowers, fi nallv the butterflies so they where t
appear to be on top of the flowers. then yo

Freesia Plaque
These are straggly flowersand dif(icuJt
to group tidi Iy but they a re much loved
bymany people and are useful because
they fit into many colour schemes,
growing as they do in such a variety of
colours. T earn brush embroidery with a
(ew moulded freesiasarranged at the
base of the cake is dem onstrated here.

.
~

108

Enlarging or
Reducing a Design

Trace rhe ourline of the picture

1 • on CO tracing paper then
transfer the designto squared paper by
inserting carbon 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 size of the
design you want. Count the sq ua res in
theoriginal grid and d ra w the same
number of squares in the second
rectangle. Carefully copy the design
on 10 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 jo in 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
Creating
Lace Designs
Some wedding dresses and veils have follows : lay a clean piece of tracing photograph better when taken The side deer
suc h beautiful embroidery that the paper over the de sign and lightly trace against a dark background. piece of ecru]
bride rnay wish to make it part of the the main pointsof the pattern, taking it may be ne cessary TO simplify the main (ea!Ure~,
theme for th e wedding and (IS the cake care not CO tear the paper and risk desi gn as some lace embroidery ha s a flower, the cri
is an important part of the wedding so iii ng the garmen t with pencil. random effect due to th e way the of th e ste ms <II
breakfasr and the bride wi II stand near Keeping the fabric close a t hand for thread s are laid down and this could inverted V sh:
ro it, the cake decorator may be asked reference, re- trace the mai n Iines . make your piping look untidy . e xt en sion war
to incorporate the embroidery in to Ora w in the fine dew iIs. Reduce or Coveran2u
the design of the cake. e n large the d esign as necessary. cake with suga
The following examples of Another method of transferring tin ted by knem
em broidery are ta ke n from pieces of the design is by photograph ing the tartrazine-frce '
Nottingham lace and the designs material , then trace the outlines {rom and just a trace
were transferred from the f(lbric as the photograph . White lace will colour. Mix tlu
piece of paste a
mi xed, add thi~
main piece ofp
the paste hasbe
kn eading, cove
refrigerator forl
Lace Plaques more rnanagea]
These are piped with aN 00 Of NoOa cause the paste
rube and would be suitable for the sides should be used o
ofa cake. You will see (hat the shapes to 'lvoid probler
have been modified in some cases to iced cake to set I
give clearer line s to pipe . transferring the
It is not usual to trac e the complete de sign OIltO pap
bee design onto the sugarpaste surface . aga inst one side
As this work must be very fine, there is o ut t he main po
adanger that pencil marks may show . Pipe snailstra
The focal points of the design should be ca ke with No! t
pricked out and the piping done from you and wi,
freehand. pipe the ernbroir
exte ns io n work.
wax paper orde:
Leave to dry tho
more pieces rhar
lor breakages. Pi
line above the e~
po sition where yl
lace, gen tly roue'
icin g 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

Lace Cake
TIlesidedecorationisadapted from a
piece ofccruNottingham lace. The
main fearures of the laceare the type of
flower, thecriss-cross eliect of the line
ofthe sterns and the colour. The
inverted Vshapeisa perfectplace (or
extension work.
Coveran lOcm(Bin) hexagonal
cake wirhsugarpssre which has been
tinted by kneadinginto it egg yellowor
tarrrnzine-free cream paste colouring
and JUSt a trace ofblack to soften the
colour, Mixthe colourfirst into a small
pieceof paste and when thoroughly
mixed, add this in smallportions to the
mainpiece of pasteand knead well. If
the paste bas become roo soft after
kneading, coverand allow to rest in the
rrtTigcraror fora short time to become
more manageable. As the tinting ID<lY
cause the paste to dry out a little, this
shollid beusedon the day it is coloured
ru avoid problems of crazing. Leave the
iced cake to set (orat least a day before
rransferring the design. Trace the
designonto paper. Hold the pattern
a~a ins [ one side of the hexagon. Prick
out themainpoints.
Pipe snailstrail around the base of the
cakewithNol tube. Tilr rhe cake away
from you and with a NoOor NoCO rube,
pipe tile embroiderybefore starting the
extension work. Pipe lace pieceson to
wax paper or clear baking parchment.
Leave to dry thoroughly. Always pipe
more pieces than you will need [0 allow
forbreakages. Pipe a few dots or a fine
lineabove the extension work in the
position where youwant to attach the
lace, gentlyrouch the lace to rhe wet
icing and check 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

yudhacookbook.com

Bas Relief
& Smocking
 as Relief is a form of three-dimensional

Bas ReIief B modelling in which less than half of the

true depth of the figure projects from the
background. Throughout history it has been
widely used as a surface decoration in
.pottery, woodca rving and sc u1pt u re.

Stel

Bas

1. ~
left eo l
artempi

2. s
edges ne

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 5 and 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 kn ife, 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 be applied to the modelled figure 3 •
Pa
we
with a dtv
by piping or by using the applique
method. 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 a divan tool and mark veins
my other def n i tions.

Ll7
4. Add petals, bevel edges and mark petal veins. 5 Complete f1o~er by adding the centre of the daisv
• and calyx. Prick the centre all over and pipe
veIlow dots around.

Bas Relief

Plaques D
T
sl~
Birds w
a~
The textures of the feathers are marked is
with a divan tool and the rounded body aJ1
isemphasised by slipping a tiny piece o( sp
paste underneath. Smooth a II the edges an
so that they almost blend into the to
background. aft
de

118

 Fish

This is an example of bas reiief

combined wirh applique. The weeds

and fins are cut from mode II ing paste ,

shaped with a ball tool and applied to

thesurface before th e body, which is

decorated with piping and app liqued

bands of co lour.

DurchGiTl
The unclothed body and face were
shaped with a divan tool. Extra care
was taken when smoothing the face to
avoid leaving any ridges. A pretty face
isdifficult to attain 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 is added last and
decorated with comelli work.

I
11 9
I
.!
 he technique of applique consists of

Applique T applying cut-out shapes of material to the

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 commonly used are
straight overcasting and basic
buttonhole stiteh wh ich serve the dual
purpose of securing the shape to th e
foundation and preventing the pieces
from fraying. Insugarcrafr there <lre
obviously no problems with fraying so
the pieces can simply be stuck co the
foundation . If the effect of embroidery
isdesired, a mock edging stltch can be
piped around the pieces cocomplete
the figure wiih one of the following
stitches.

Straightot'erCasting Basicbutconholestud:

Step,.&y,.Step
Applique
(Lion)
4. ~

1. Body stuck to base. Legs moistened and laid in

position on top. 2. Add mane and ears.

120
3. Addnose, eyesand muzzle.

4 Addblack eyebrows, black

• noseand pupi lsof the eyes.

5. Paint black detail.

121
 Bells

The bells are cut fromsugarpaste and

the flowers and ribbons are made from
finely rolled flowermodelling paste.
s
Rowers are shaped by pressinginto a
foam pad and completed with piped
stamens. Decoration on bells ispiped
with No 0 tube.
Thi:
SUg<i
con '
and
deer
mus
fom

c
Bird
This isa gooddesign fora child's cake.
Any colours C3(l be used to fit a theme.
The smalldetails are piped.

Pink and White

Floral Design
This consistsof variousshapescut with
petal and leafcutters and laidout to
form a pattern . Some of the petals have
been cupped with a ball tool to add
further interest.

122

 mocking is a technique traditionally applied

Smocking S to clothing and used for holding the fullness

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 Method MeanwhiIe,cut a stripofsugarpasre

sugarpaste is as near as possible to the To form the basic gathers, rollout the to the width and depth required forthe
conventionalsmockingof thin fabrics paste very thinl yon a lightly finishedpanel. Remove the cocktail
and itsonly function isthat of comfloured (comstarched) surface. sticksand lay the ridgedstrip carefully
decoration. It isa painstaking task as it Cut a straight strip about Bcm(3 in) on the moistened strip of the base.
must be neatlyand evenly tucked but it deep and twicethe width of the Adjust the gatherswith a cocktaiIstick
forms a veryartractivecake decoration . finishedpanel. Ifyou require a very if theyhave become disarranged.
longstrip to go all round a cake, this With a rulerand scalpel, using the
willhave to be made up from several minimumof pressure, cut the top and
panelsbutted together. bottom edges straight. Panels should be
EQUIpMENT
Placeone cocktail stick under the arrangedon the cake as soon as they are
Cake covering fondant mixed half
stripof pastemakingsure that it is manageable, beforethey are completely
and
straight, the next stick is laidon top, dry. The panel is then readyto be
half with flower modelling paste.
veryclose to the first. Carry on embroideredin a varietyofstitches.
Cocktail sticks
alternating the sticks, pressing them Some of the traditional stitches pull
Scalpel
close until you have the width you and distort the tucks. Ifyou wish to get
want. Allow to set forabout fifteen this effect. plan the designand gently
minutes. pull the tucks into shape beforedrying.

Step-by-Step
Smocking

Cocktail sticks placed alternately

1 • on top and underne ath paste,
pressed together to form folds.

2 • Gathered strip of paste ready to

be stuck onto base.

123
 Gathers ate stuck to the base
3 • and the top and bottom edge
has been trimmed.

4
Smocking completed in a

• traditional design showing

ou tl ine and rrelIis st itch. These
srirches do not cause d isrortion 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 of a band ofsmocking
where the fullness of the material is
released . Here a (rill has been made
and attached to the smocking. The join
is overp iped wi th a smocking stitch.

124
Stitches shown
on Plaques

1. VandykeStitch.

2. Honeycomb Stitch.

3. Surface Honeycomb Stitch.

125

 his cake combines the techniques of bas

Bird Cake T relief and applique. The design was traced
and transferred to the top of the cake.

The bra nc h was piped first with NoZ

tube. The birds were cut (ro m white
sugarpas te , fixed in place and
modell ed by the bas re lief method.
Any type of blossom cutte r may be
used for th e flowers as lon g as it is
large enough to be in sea le with the
rest of th e picture . No attempt has
been mad e to mak e 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 stick ing with a little royal
icin g. The birds were co loured by
bru sh ing lightly with black and blue
blossom tint mixed toget he r with
co rnflo ur (c ornstarch) and win g and
tail tips pain ted with d ilute d bro wn
co louring. All th e leaves were shaded
with a darker green mixed with gum
a rab ic liquid to give depth.
T he base of the ca ke has a straight
single flounce . Ivy leaves were
attached in an irregular Iine and the
stems pi ped in to finish. o
Forillustration ofthe finishedcakesec o
00
page 1/5. O(
<

126
Bas Relief

127
 Applique

M~k b No
. 0 Fool

OEmoO Eyes

00 Templa!£·!

128
Templatesfor d~si&'l1S illustrated inlhis lessun

129
 Tempkllc5 fordC5igll5 ill U5tToted in thi51e55011

130
 LESSON 11

Filigree
 iligree is a most useful form of

Filigree F decoration, which can be used to produce

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.

writing tube such as aN 01 or NoO.

Hold the tube light!y against the surface
to be decorated and apply pressureas for
Coa
general pipi ng work, then as you pipe,
and
move the bagand rube from side to side
coul
and up and down to create a can tinual
butt
line of irregularshapes based on the
base
letters 'rn' and 'w' in a continuous
sera]
srring. Ideallywhen frnished youshould ­
decc
not be able to see the beginning and pipe ,
end of your piped 1ine,
strip
chill
Buttercream Filigree line :
pape
00 not think of f I igreeas decoration pipit
produced with royal icing only.
thid
Buttercrearn isan idea I mediumfor
ware
piping filigree. The easiest wayto apply
thee
burtercrearnfiligreeto a buttercream sma]
coated cake isto firstch ill the coated
meln
cake. This ch ill ingwiII create a firmer
sugar
surfaceon which to pipe. The cream
pipec
used forpiping em be warmed sligluly
in a bowlover warm water, this will
help towards pipi ng smoother lines.
Use a No 1 rube.

Using Templates St1

Preps
Now cut out a simple template such asa
straw,
crescent shape, use this for further
Coat
practice. Templates can be very useful
straw,
Filigree as its name suggests, should in a steamy kitchen, the icing is so on actual cakes when piping filigree
scrap
be fine, delicate and lace like. For this fine and fragile that any trace of patterns, youcan experiment With
Mark
reason, filigree is normally executed moisture or hum idit y wi 11 hinder your them on cake tops and sides to produce
using:
using fine writing tubes No 1, NoO work and delay the drying time of the many interesting effects.
cutter
and NoOO. icing. Remember also to take care to
sprinl
Use freshly made royal icing that store the finished items in a dry place
odin.
has not been overbearen, air bubb les otherwise the filigree will collapse.
curter
can be a nuisance when piping with Probably the most difficult part of
Next
such fine tubes. Smomh the icing out f Iigree work isremovi ng the finished
butte:
using a palette knife on a clean flat pieces from the waxed paper, so
pipin[
surface, this wi 11 ensure the icing is always make plen ty of spares.
the L'C
lump-free. For shaped or formed
come '
filigree pieces, a pine h of cream of
filigre:
tartar in the icing will make a more
solid finished item. If you intend to Piping Filigree butter
the wl
pipe filigree over shapes to be An easyexercise to beginwith isto
piping
removed when dry, lightly grease the draw out a shape such as a circle or a
andth
mould with a light whitefat. The squareontO th in card or a used cake
shells '
finished item can then be warmed board. Practisepiping fi1 igreeusing the
four su
gently to soften the grease and ensure outline as an edge to workto. Use
rnouru
an easy release . coloured royal icing that willshow up
piped,
Try to avoid rnaking 1ace and welland aid your practice. Use normal
srrawb
f 1igree work on a damp, min y day or consistency royal icingand a fine

132
Coffee Gateau
Coata prepared cake in coffee-coloured
andflavoured buttercream. The cake
could be layered with coffee
buttercream flavouredwith a coffee­
based liqueur such asTia Maria. Comb
or
scrape the sides the cake, and
decorate the base with plain shells
piped in chocolate buttercream. Rest a
strip ofwaxedpaperon CO the top of the
chilled cream surfaceand pipe a straight
I:
line against it, remove the waxed
paper. Usechocolate buttercrearn or
piping chocolate (melted chocolate
thickened with a fewdrops of cold
water). Pipe the filigree in one half of
thecake. Decorate the other half with
II
I
smallchocolate drops, made by piping I
melted chocolate on to waxed paper. A
sugarpaste inscription plaque and some 'I
piped Iinework complete the gateau.

Strawberry Cake
Prepare the cake by layering wi tb
strawberry-flavoured buttercream.
Coatthe cake in pink-coloured,
strawberry- flavouredcream. Comb
scrape the sidesand chilI the cake.
Mark the cake top into four sections
using the back of a knife. Place a food
cutter in the centre of the cake and
sprinkle somesieved jap biscu] t crumb
or finenibbed nuts into the shape of the
cutter, remove the cutter carefully.
Nexr pipe straight Iines of white
outtercrearn usinga 6mm (1/4in) plain
)iping tube. TIle Iines should start at
.he edgeof the centre dressingand
zorne out to the edge of the cake. Pipe
;ligreein the foursections, using pink
)lIttercream. Now pipe a wavy Iine on
:he white buttercream lines using
siping chocolate. Finish the top edge
mdthe base with 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

Filigree
iligree can be used to good effect when
F piped directly onto tulle. The tulle is so
fine it becomes hardly noticeable against the
piped filigree, but does help to keep the filigree

withTuIle together for shapes and formed filigree that

would otherwise collapse.

shapes from tulle. The easy way to do same time . Pin the tulle quite taut over
M
Filigree Casket this is to make a tracing of the shapes a drawing of the shapes using long. Ade
Using the templates provided at th e 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
N ol
riblx

1 Pipe filigre e over the tulle with yellow royal icing

• and a No 1 tube. Edge all shapes with straight
piped line s, and edge the curves with a tiny shell st ill
2 Secure the longest of the two str aight pieces on to
• a curved former to dry, a ring of plastic rainwater
piping is ideal.
En
using a No} tub e. Also make the se mi-circle sec tio n , C oati
ou t line the shape withaN 01 tube and flood in wirh edge
yellow run-icing. using
a fine
co lou
pink
the C(
and II
grcas
in cq j
Pipe:
mark
Usi ru

- loops
pipe ;
tim e
the fa:
the e:
insert

3 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 suppo rt the
4
M ake 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
sides un til dry . made from paste. Attach two lids as shown, lea ving a
space between each. Edge the ca sket with a picot dot
edging piped in yellow icing using a NoO tube .

L34
Mother's Day Cake
Adel ightfulcake for Mother's Day.
Bakeashallowcake to give this modem
appearance. Coat the cake in cream­
coloured royal icing and edgewith lilac­
coloured shells usinga No44 tube.
Chocolate-coloured icing isused to
edge the shells on the cake top and to
pipe a filigree edge around the coated
base board. Position the fi Iigree casket
onthecake top and pipe the inscription
usingchocolate-coloured icing and a
Nol tube. A narrowcream-coloured I

ribbonand bowcomplete the cake.

Engagement Cake
Coat a cakein whi te royal icing and
edge with a shell bordercopand base
using a NoH tube. Edgethe shells with
afine rope using a No 1 rube with Ii lac­
coloured icingfrom the top edge and II , 1
pink forthe base. Pipe ftl igreeto cover
thecoatedcake board usinga NoOtube
and lilac-coloured icing. Use a strip of
greaseproof (waxed) paper marked off
inequal sections 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 , allow to 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 .

135
Engagement Ring Casket

Prepare the runout sections of the casket using

1 • the templates provided . Outline in white using a

Nol tube, flood with white run-icing, allow to dry .

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
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.
4. Assemble the ru nou [ sec nons as shown using
small pieces of pol ystyrene to support unti Idry.

pi:
to

»:"

3
fili
5 Pipe pink filigree over the assembled dry casket
• using a N00 tube . Roll ou [ some pi n k sugarpasre
approx, lOmm ( 1/ 2 in) thick and cu t out a disc as shown.
6 Attach the domed lid to the casket with royal
• icing and support with a sma II piece of foam
sponge until set. Decorate the casket edges and the
iei
en
as
Pipe a small bulb of icing into the base of the casket and dome with a p icot dot edgi ng. A piped tlower on the ms
position the sugarpaste di sc. Wh iIe the sugarpaste disc is dome completes the casket. he
still soft, insert a coyengagement ring at an angle as bal
shown. art

136

 Filigree Cradle

•
(.
,

I~
Using the same method as
1 • described for the tulle casket,
make the necessary pieces for the ."
cradle asshown using the templates I
provided.

Shape the base of the cradle

2 • overa curved forme Ther.
picture shows a cardboard tube taped
toa photographicsIide box.

Assernble the sect ions of the

3 • cradle as shown, edging the
filigree with a tiny pink-coloured
icing shell. 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. A fewbows can also be
attached.

137

 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. This givesthe cake a very
delicate appearance.
Using the templates provided trace Mak
dID\\
out the designs and secure to a work
board. Cover the design with waxed worl
paper and pipe trellis or netting as waxe
shown. Stan by pipingthe outline usin
shape of the collar and then fillin with Nex
the netting. Edgethe top collarswith a _ part
picot dot edgingasshown. Using the rosr
drawingprovided, cut out a template to rod
assist in pipingthe lineworkdesign. orar
cent
the I
six fI
piec
ave]
ma~
bert
bod

1
oft

.......

of
138
Filigree
Wedding Cake

Make the trellis piecesfirst.Trace the

drawing provided and secure to your
work board. Cover the designwith
waxed paperand pipe the outline first
usingaNol tube and white royal icing.
Next pipe in the trellisand flower
pattern. Overpipethe trellisand flower
tostrengthen the piece when attached
tothecake, the flower is overpiped in
orange-coloured icingwith a darker
centre bulb. You wiII need 24 piecesfor
the three tiercake, six foreach tier and
six for the top ornament, \Vhen the
pieces aredry, tum them over and
overpipe them in white icing. Th is
makes them morestableand 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 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.

ofthe cake side.

3 Make a tracing of the Iinewark shape from the

• appropriate dra wing and repea t the design in each
ofthe six sections.
4 Carefully cut the shapes to produce the template
• as shown . Secure to the cake with masking tape
and commence piping the linework.
139

 Filigreo

,.

5.
A runout disc isa lso requ ired

for the cop ornament base.

6
Prepare tempi 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 N 02
tube and white royal icing.

7 Remove th e rrellis pieces (rom

• the waxed pape r and attach [0
the cake sid es, 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 ornamen r, attach six
trellis pieces together on a round I

runout disc, and insert a flower in I

L _
each space between th e pieces.

140
Filigree Wedding Cake

I
I
I
I
I
I
I
I
I
I
Join here I
I
I
I
I
Tl?P
15(."'711(6in) Cake
I
I
J
Middle I
20cm (8in) Cake I
I

Side Unework Template

20cm (Bin) Cake

PiI)e Flower in Orange

141
 Base Tier Side LineUiork

Filii

n
Middle T ierSide Line work

Top T ier Side LineUiork

Filigree WeddingCake
142
EngaKemell1 RingCaskel

Q
Top Base Sides- make 4

Filigree Cradle
-1

Cuulle-Curvc over Former Cradle Base

Thisside slraighl

Canopy Insert :.. make 2 Cradle End Diamelt'T of curved

farmer required

Mother's Da)' Casket

Filigree Lid- Make 2 R!t!1OUI Base

Filigree Side Panel - Dry straight Filigree Side - Dry curled over Former

143
 - - -,
/

/
/
/
/

/
/
/
/

144

 LESSON 12

Advanced

Figure

Piping
. 1
 igure piping is one of the most frequently

Advanced F executed and certainly one of the most

fascinating aspects of sugarcraft. Scope for
]
the use of figure piping is endless. and is seen

Figure Piping fea tured on cakes for every and any occasion.
]
Th
figl
usc
fn: ~
stif
!\)r,
wa
VOl
is p
the
the

as 51
1001
the
line
wax
con:
rod

Figure piping is particularly useful for incorporate a piped figure of some pi ping - pressure-piped and freehand
2,

original motif cakes, when few, if any
of the available sta n dard range of
decorations are suitable . A figure to
depict an occ asion or ce lebration can
more often than not be found and
used as a centr epiece or as part of a
scene or v isual theme decora tion, For
years now, the art of figu re 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 req uiring or bei ng su itab Ie to
the.
kind , particularly so in birthday and runout. The two sty les may be used pipe
Christmas cake classes. separa te Iy or they can be used t o di
Every sugarcraft artist can use together to good ad van tage ; pressure­ the 1
figure piping in their cake decoration, piped figure piping is probably not as de
from the novice to the more used as much nowadays. except hull­
experienced decorator. Each time you comrnerciallyfor simple, quick-to­ the I
produce a figure you will no doubt pipe figures to give a hand-made fearl
become more experienced and appearance and personalfinish to bulb
adventurous, eventually making the decorated cakes. The most popular usin ,
most c ha Ilenging and intricate freehand piped figures used today are prep
designs and allowing your the love birds seen on runout collars bod ~
imagination to develop new and and on side panels ofwedding cakes. the s
wonderful ideas for figures. Such work isalso ideal for children's shap
There are two rnain types of figure bi rthday cakes. each
146
Pressure-piped

Figures
The technique for pressure-piped
figure piping differs rotallv from that
used for runout figure piping. Use
Iresh, wellbeaten royal icing, not too
stiffbut able to retain its shape when
forced through the piping bag onto
waxedpaper or the surface medium of
yourcoated cake. A fresh, light icing
is preferred, as it will respond easilv to
the pressureput on it by your hand on
the piping bag. Th isconsistenc y of
ICing will produc e 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 flow of
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
see page of t he 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.

irds are a popular feature on wedding

B
Birds cakes. They are easy to make either in
full- or half-relief.

Half,relief Birds
Using a No t tube, pipe left find
1 • right wings onto waxed paper
asshown. Use a side- to-side
movementwhen piping to buiId up
the requiredshape . A couple of pencil
lines drawn on paper beneath the
waxed paper will help to achieve a
consistentsize. Allow the piped wings
todrv.

Build up the body of the bird.

2 • This can be done directly on
thecake surface or the birds can be
piped onto waxed paper and allowed
todrybefore using as required. Pipe
thewingfirst, using the same method
asdescribed previously. Next pipe a
bulbous body using a No2 tube, taper
the bulb as shown. 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
the same method, but reversing the
shapes, you can produce birds facing
eachother.

147

 he stork is an ideal motif to make for birth

Stork T or christening cakes. The bow-tie colours

are used to reflect the sex of the baby.

The sto rk is piped in TIl uch the same

manner de scribed (or the swan, using
aN 03 cube for the nee k and body .
The wings ar e pip ed using a No2 rube.
Pipe the be ak wirh o range -co loured
icing using a No I tube and the legs in
a coffee-orange co lo ur 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 proficien t,
the template will not be required.

The stork isa favourite mot i f for

•
christening cak es.

Here the sto rk motif is presented on a

sugarpaste plaque edged with royal
icing, useful as a prepared decoration
•• for the top or if mad e sma ller, for the
sides of cakes.

l
t
Ii
1I
b
p
F
f(

b
b
148
 iI

Duck Birthday
Cake

Here we 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
scalloped template from cartridge
paper and position as shown on the
cake side, secure the template with
masking tape. Apply blue-coloured
royal icing ro the cake side exposed
below the template and coat smooth
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
she ll borders with blue icing. Using a
No 1 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
petal cutter and fanning in curved
fru itt rays or c lean pol ystvrene egg
II
boxes. A llow the holders to dry then
attach them to the cake and position I
a candle in each.

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
bag to create the required shape. Next
pipe a pear-shaped body as shown.
Pipe the Same shape again, smaller to
form the wing.
Finally pipe on the beak with
bright orange icing. A chocolate or
black eye cornpletcs the duck.

149
 his second form of figure piping is used

Runout T exte i
ns vel
It
al most every
y nowada ys by
sugarcraft artist. is frequentlyseen in
several classes of com pet i ti ve s ugarcra ft, and

Figure Piping can be suited to any occasion providing plenty

of scope for new and original ideas.

Runout piped figuresare norma IIy figure or motif. The main point to on the other end a pencil transfers the
reduced or enlarged image. Again this
Se
produced on waxed paper to be peeled reruember at th isstage isto choose a
offwhen dry, the figure is then placed figure that you can execute mav not be economically practical, This
di reedy onto the prepared cake reasonably well, do not select a really the investment wi II obviously depend fonn
surface or on to an icing or sugarpaste intricate design ifyour piping and on the amount of design work you basic
plaque. Th isdoes not mean t ha t runout skills ate limited. It isfar intend to undertake. flooc
every figure has to be made flat. better to choose a simpler figure that nmo
Figurescan a lso be made to ta ke the you know will be easy to reproduce. Interpreting Designs with
curved shape of a round cake side, by The basic idea of a runout figure IS onto
producing and drying the runout on a The Correct Figure Size that an outline is piped and the flaro
curved former of the same diameter Ha ving seleered the figure or an irna I various sections of the figure with
(or curve) as the cake on which it is to of your choice the next stage is to separated. Into each section, run­ pape
be attached. ensure that it will comfortably fit in icing is piped either in white, to be mask
A few things need to be considered the space allocated for it on your painted when dry , or in appropnate In th
before actual production of the figure cake. Sometimes you may have colours, again which can be painted figun
can commence. figures that you have used previously with further deta iI. The figures may color
for another cake and wish to reduce or val)' in one of four wavs, accord ing to run- i
Selection of Motif enlarge for further use. Or it may be the filling in and finishing whit.
Suitable figures and animals for that you have seen a figure you want techniques. the n
possible use as runouts can be found in to use butit does not fit on your cake. food
most ch i ldren's an nuaIs, on greet ing See lesson 9 (page 109) for details on The types of figure piping are: semi­ TIle I
cards and on gift-wrapping paper. methods of enlarging and reducing relief, outline, wafer-thin and full­ calm
Beforesuch figurescould be used designs. relief
commercially, full permission would An alternative method to those
have to be obtained from the already suggested would be to invest
copyright owner. 1fan the other hand ina p,lntograph. Th is implemen t is
you prefer to be more crea t ive, you usually plastic and consists of a
could use various ideas and put them painter wh ich is used to fo llow the
togerher to create your own mig ina I outli ne of the originaIdrawing, wh i le

Teddy Christening
Cake
.
. The pink semi-relief teddy isusedhere The~
"; ...
~
as an attractive figure decoration for
· f in the
this royal icedcake. Firstmakeseveral bow-i
runour sections for the borders. Using
the template provided, outline in white
royal icing using a N 01 tube aod then
flood in with white run-icing. The side
design ismade by piping Iinesof white
01J.
royal icingonto waxed paper, the same A sim
length as the depth of the cake side. introe
When the linesare dry. a pink wavy Outlii
line ispiped on usinga No I. tube. the ca
A 1tach the prepared Iines to the sideof sugarr
a pink coated cake. Next 8ClaC h the rcquu
prepared runout sections to the top surfac
edgeand baseboard. Attach small figure
blossom flowers , made with a cutter pipin!
and piped with a tiny centre bulb. Pipe celom
Iinewark around the insideedgeof the depet1
top runout sections, and to followthe invol:
baseborder. Runout lettering piper:
completes the cake. of the
150
Semi.. relief
Th istypeo( figurepiping is the simplest
form that 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
masking tape.
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
food colouring and a fine paintbrush .
The nose and bunons are pipedon with
coloured royal icing.

The pink teddy bear figureisproduced

in the same W 'dY with a separate nmout
bow-tieattached to the dried figure.

Outline Figures II

A simple but very effective wayof

introducing figureson to your cakes.
Out! ine figures are piped directly onto I
the cake surfaceof royal icing,
sugarpasteor fondant. T race the figure
requiredonto the prepared cake
surface, use the jollyJack-in-the-box
figure to experiment with. Prepare
piping bags of royal icing in the required
colours all with a No 1, 0 or 00 tubes
depending upon the finenessor detail
involved. Using the prepared rubes.
pipe the outli nes of the figures in each
of the appropriate colours.

151
 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
by the rube being used, inmost cases a 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 dry a Iirtle and then flood in
each area with the appropriate colour of
run-icing. Extra detail can be painted
on when the figure is dry If required.

Full,relief
Full-relieffigure piping isstarted in the
same manner as semi-reiief piping, by
outlining a sh ap e on waxed paper,
With this method, however, each
section is piped in a different manner to
achieve a moredetailed figure with
definite modelling and 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
are flooded in a more bulbous folShion to C,
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 dry before floodingadjacent 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 is to number the
parts of the bodyon the drawings before
flooding asshown. In thiswav youcan
then floodall pans marked ' I" allow
them to dry then flood parts marked '2'
and so on until the figureis completed.

Full-relief figure piping sequence for

teddy bear motif. usingone co lour of

icing only.

152
 rI
Combination Work
If you runout the figure ina single
colourof icing as for the teddybear, you
can paint on extra fine detail and
shading once the figure has dried. using
edible food 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.

Teddy Birtlulay
Cake
An attract ive hexagonal-shaped cake
decorated with pale blueand white
royal icing. TI1e runout collarsare made
usingthe template provided. outlining
in a No1 tube. The board linework is
piped usinga card template prepared
from the collar design. Complete the
cake with a runout teddy figure and
directly piped inscription .

153

 FlowerGirl

'- J Th isvery attractive lirrle figure 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 you could
execute the workdirectlyonto the TOY'll
iced or sugarpaste surface.
Notice how the build-upof the dress
has been completed in stages, to allow
individual sections to dry before
flooding adjacent sections.

...

Th e finished fi gure painted with edible

food colouringand built-up in the form
of a bunch of piped flowers and stems.

154
 Teddy.Loti/-Relief Figure

Rabbit Low-ReliefFigure

Base Border Runout Pieces

Top Border Runout Pieces far PinkChri$ tening C,tke

Jack in the box

GirlFigure

155
 5lOrk

Sanla WaferThin Figure

FloodingSequence For FilII-Relief Piping

Bow Tie

Duck Birthday Cake

Wmer WaveTemplace secured to cake 5ide reeuJy
forapp!icacirm of "lueicing.

I
/
/ RUJlOlit CollarforTeddy Bear Birtlulay CAke - make! 6
/
/
156
 LESSON 13

Advanced &

Freestanding

Runouts

•
 aving now mastered basic and .
H
Crown intermediate runout work, and gained
an understanding of the characteristics and
possibilities of this work, more advanced

Ornament runout work may now be tackled.

Using th e drawings provided ,

1
• trace th em o nto ca rtridge
paper and secure to your work -board.
Outline usin g a No I tube and white
icing and flood wit h white run -icing.
Make six runou t pieces and allow to
dry . Using the same template again,
place waxed paper o ver and pipe a
scalloped net filigree pattern as
shown usin g a No 1 tube. outline (he
work with the same tube and
immediatel y place a prepared runout
section o n to the net work and gently
press to attach th e two together.
Repeat o n all six sections and allow
to dry. A Iso make a runour hexagon
4.,
artacl
sha pe using the drawing prov ided, block
th is will form th e base of the crown . piec e.

2
For th e po int s of the crown ,

• cuto ut sha pes from tulle.

Trace th e drawing prov ided onto
paper and place onto six thicknesses
of tull e, cut through the templat e
and th e tulle at th e same time . Using
a draw ing of the fu II te rnplate, place
a piece of waxed paper ave r and
secure with masking tape . Securea
5.

can b(
tulle shape with a few dots of royal icing.
icing, then continue as for the sal
conven t ion al runour work. Outline the pc
in white usin g a No! tube and flood using:
in with wh ite run - icing. the jo i

3 Place the shapes onto curved

• formers made from cardboard 6. ;
tubes as sho wn . Al low the runou t then pi
shapes to dry , chen pipe a tiny shell crown .
edging on the inside edge near rhe attach!
tulle . require

158
 Assemble the six side runout
4 • 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 poin rsof the crown
can beattached, again using royal
icing. Blocks of polystyrene each of
thesame he ight are used to support
the points until dry. Pipe a tin y she II
using a No I tube as shown around
the joinsand edges.

6• silk,
An arrangernen t of art ificial,
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

Double D ouble collars pro vide an interesting and

refreshing change to the conventional
single collar. Ensure your drawing and
]
piping is accurate for double collar work, as

Collars any ina ccuracie s ar e exa ggerated.

~
Use the drawin g provided to try a
dou ble co llar. Your own designs can
easiIy be adapted to make do ub le
co llars. by drawi ng in a seco nd
outline . a sma ll distance from th e
origina l outline. To emphasise the
double co llar. outline and flood in the
under co llar with a sligh tly da rker
colour th an th at of th e top co llar.

Pink Celebration
Cake ]
A very detailed cake top design
Ol
requiring the useof double base boards
Ill:
to balance the overall effect. No te the
double collarswith filigree overlays. ell
m:

Runout Collar
Fillers
The photograph showsfive variations
00 the basic collar section used on the
Pink Ce lebration Cake. Thi s isanother
2
size
exampleof creative sugarcraft, making srai
one basic idea work foryou with severn] pai
opt ionson decorative finishes. TIle
templates are at the end of the lesson.

1• Piped criss-cross lines

decorated with a piped flower.

Piped filigree using a NoO or

2. Nol tube.

3. Sca llop edging piped using a

N o l tube then overpiped ,

4 Line and do t. Using a No l tube

• pipe the lines first and the n 3
pipe in the dots . all t

5 Sca lloped net fj ligree piped

• using a No l tube.
roo
frar.
Nol
160
Runout T he runout church is ideal for a Christmas
cake decoration made in white icing and
Or
left unpainted would make an unusual
ornament for a winter wedding.

Church

1,
Make remplates lOT all th e
1 • sections of th e church, th en
out!i ne and flood j n a ll shapes to
make runout pieces. Notice how the
d ock face is (looded with icing to
make painting derai I easter.

\X!hen the runout pieces are

2
• dry, attach pieces of tulle 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
allthe church walls and the two visible
roof sections. Outline the window
frames with brown royal icing and a
NoOtube.

L6L
 i
(

4 Assembl e th e ch urch, using

• royal icing and supporting the
sect ions with polystyren e block s until
dry.

1
5 Prepa re a sugarpa ste plaque in
• an ova l shape. A tlut ed edge
looks attract ive as shown, use a large
pro'

ova l food cutter or make a template

from card. Brush the plaque with
softened royal icing , leaving a section
dear for th e inscript ion.
Mode I a few small trees from green
marzipan . Ma ke co ne shapes from the
marzipan and sn ip th em with small
scissors to make branc hes . Brush with
icing to represent snow.
Attach th e ch urch and brush a
2
wh i
little softe ned icin g on to represen t the
snow . While th e icing is sti II soft Floc
sprin kle with gran ulated sugar to give icin
a frosty effect. at t n
whi
jJ
floa

3,
162
Anniversary
Cake Ornament

Make rworunout shapes as

1 • shown , using the draw in gs
provided.

Makethe ru nout numerals.

2 • Outline the numerals wit h
white royal icing, allow rodry. Paint
theoutlines with silver rood colour.
Flood in the numerals w it h white run­
icing. TIl is technique creates
attrac tive figures wirh si lve r edges and
white cen tres.
Assemble the orna ment using rhe
floating collar techn ique.

FloatingCo llar Anniversary

3• Ornament.
163
Floating Collar
Anniversary Cake
Make the top and base collar
1 • using the drawmgs provided.

Coat the cake in white royal icing .

111e cake I S presen(edon a JQU ble cake

board. Com the cake and lxlard I n the •

convent ional manner. then atta ch the

cake and board to a second 1x'(lrcl2.5cm

(1 in) larger than the first board. Fill the

space between the boards and smooth

flat <It <In angle from the board to the

other usinga side scraperor pa lette

knife.

1
2 .
Make (our runour overlays and

then pIpe blue (j Ilgree Onto

waxed paper as shown. PI"ce the dry
runout sect ion over the fi ligree and
attach with a gentle pressure. b
1
~J
w
o
tI
Place about eight wooden tl
3 • blocks of even SIze (smooth
edges and corn ers th sandpaper to
wi
ensure easy release of blocks) 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

a No I or NoO tube. Pipe at intervals an

around the base, allow these first lines co
-.
""'"
to take the weight of the runout
collar. The blocks can then be
of
an
removed and line piping completed. flo
cal
164

 h is stu 0 ning 25 thAn n i ve rsary ca ke uses

T many sugarcraft techniques, the main
feature being the floating collars.

4 Using a ruler resting along [he

• cake side, scratch <I stra ight
line o n to the cake side usin g a N o 1
tube. Pipe a stra igh t line alon g the
inside edge of the base co llar. A llow
t llese IInes to dry, th e n pi pe lines fro m
the side line down on to the co llar as
shown, again at reguhlr mt ervals
using" No I or NoOtube. Finish with
a tiny piped she ll along the straight
lines. Attach the cop collar .

or
5
UsI ng prepared bloc ks wood ,

• shaped at an ang le, place a

block on each corne r of th e top colla r.
Th en position the p repa red sh ield
shaped runout overlay pieces on the
wooden blocks. Again pipe a few lines
DIl each side to support the ove rlay,
then remo ve the blocks and con ti nue
the line piping.

Pipe a tin y picot dot edging

6 • 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 th e outs ide edge
nfrhe base Iinework sha pe. An
arrangemen t of ribbon s, bows and
fl owers at each comer c ompletes th e
cake.

165

 o
o

Base

Tower Side TowerFront

Front

Back

0000

Side
Roof

D D

T owerRoof Doors Porch

D

Tem/J!£ue for Runollt Church

166
 PinkCelebrationCake

Ot1crlay ­ Make 4

Undercollardarkt.>r J)ink

CerasepeceTop

Trellisand Flower

ScailopUne

ScallopedNel Filiwee

167

CerurepicccB£lSe

T op

Poinr.s - Make6

Sides - Make6 '-­ --.J

168
r----­ --- ­ - - -- -­ --,
RtIIIOU! frrr Floming CollaLl I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I TO/ICnllm
Runouc far Fhltin~ Corners- Make 4 I
I
I
I
I
I
I
I
I
I I
I I
f-- - --- -- ---- ----~

169
 Make one in whiteforWedding Bell
Drin green for Festiw Bell

Templace.~ for Festive Bell and WeddingBells Omament

Wedding Bells Base

Festive Bell Base

RunoutSupport for Festive Bell

Holly InsCTtfr./T Festive Bell RunoutChristmas Scene- Paint when dry

170

 LESSON 14

1- ntroduction

to Sugar

Flowers

 ugar flowers give the finishing touch to

Equipment S any celebration or wedding cake whether
arranged in a very simple form or in an
ad vanced spray.

Equipment

T he equipme nt used for making sug..r

flowers is quit e sp ecia lized an d is in

add itio n to th e basic cake decoranng

equipment. A sewing , fish ing or craft

box is ide al for storing thi s eq uipme nt

var­
as you will co llect a grea t number of
to f
sma 11 i rernssuch as S( :J men s <loll
th a
cutte rs whrchar e best kept together.
ano
the
con
anu
~
Anger tool

Use for o pen ing the throats of flowers.

Confectioner's glaze

Th is is a special hquid wh ich gives a

shine to leaves and flowers.

Cutters
a
There isa vast selection of petal and
n
leaf cutte rs available.
2
I

Dresden pewter tool

I
Thi s is useful for c rea ling special effects,
~
such <IS getti ng the Tight ti It to the large
1
petal of a pansy.
1,\

r
Floral tape

Use this for covering wires and for

assembling sprays.

Sift
(COl
Foam rubbe r

dun
Man y decorators work Over a large

trag
square of thi ck 103m rubber so that if a

carl
fl ower gets dropped I r does not sha rter.
Polystyrene block T'lpe shredder
mix
Srnaller pieces of fCwn are needed for
Use this for holdmg the flowen, before Thi~ is useful for cuttmg the fl oral tape wa t
ejecting cutter flo wers. for lifting and
the y me wired inro sprays. in to narrow strips.
and
shaping petals and for prorec(ion wh iIe
[;
transpornn g (jnished spra ys.
Ribbed tool Tweezers
and
- Use for finger fl owers. Fine-pointed crank-ended craft nve
Glass-headed pins
tweezers arc best for delicate work. I,
These have a variety of uses In cake
Ribbons

and
decorating. In fl ower modelling, t hey
All sugar flower sprays co n ta in nbbons,
Wire cutters
be tc
can be usedlike ball toul s forsmall
Very n(\ITOW on es are best for th is, and
Use for cutting the florists' wire, or keep
petals.
of sl
for ribbon insertion and bandin g.
a pair o(floristryscissorsspeciallyforthe
stir
Wider ribbons can be used rn cove r
job .
lat.
Leafformers
cake boards.

Rubber veinersdesigned for the pot rerv

'J
Wires
tab
industrymake realist ic sugar leaves.
Stamens
A selection ofcovered florist wirein wac.
These come in man vdifferenr shapes,
different g ,1Ug CS is needed. Usc tine wire
mix
Pliers
sizes and colou rs,
for small flowersand heaviergau,t.:1.' l()r
oth'1
Use small long-nosed pliers for hending
13rge fl owers. Fine rose wire or fuSt, wire
wire and electrical piiersfor SI ripping

Ad
is useful for wiring together sprays.
wh i
wire.

172

Flower Paste
All of the moulded flowers in th is book
have been made using this recip e for
flower paste. However, there are many
variations o n [his recipe, so experiment
to fi nd one which suits vou. Remember
that flower paste IS affected by climat e,
and ifyoulive ina very hum id place,
then you may need to add more
cornflour(cornstarch) and reduce the
amount of icing sugar.
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
rnerhyl cellu lose
25ml (5 teaspoo ns) w id water
10ml (2 teaspoons) powdered
gelatine
l Srnl (3 teaspoons) wh ite fat
(shorrening)
IOml (2 teaspoons) liquid glucose
white of one 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
mixerbowl o ve r a large pan otbolhng
water. Cover the top with a dry cloth,
and then with a plate or cake board.
Purthe water in a small glassbowl
and sprinkle 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 is melted .
\Vhen the icing sugar feels warm,
take the bowloff the pan of boiling
water, dry the bottom and place on the
mixer. Remove the beater from the
other pan, dry and assemble the mixer.
Add the 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
is a dull beige colour.
Tum the rru xer to maxi mum and
beat until the paste is white and srnngv.
TI1is will rake5,10 m inutes. Remove
the paste from the bowl and place in a
clean plastic bag. Place the bag in an
airtight con tainer and refrigerate for <It
least 24 hours before using. If planning
to store the paste for a fewweeks, put it
in four or (j ve small bagsand open one
at a tirne.
To use th e paste, cut off a small
piece, add a smear of white (at and dip
in to some egg white before working.
The warmth ofyou r hands wi II bring
the paste to a workable. elastic
consistency. Remember that the paste
d n es out very quicklv, so keep it
cove red at all runes and never cut off
more th an a ve ry sma ll piece. Certain
colours, parncularlv reds and violets,
may change the consistency, so it may
be necessary to add more wh i re fat and
eggwhite .
Quick Flower Paste
Thi s paste iseasier to make, but the
(lowers will nor beas delicare.
225g (80z) commercial sugarpasre
5ml (I teaspoon) gum tragacanth
white fat (shortening)
Knead the sugarpasre and gum
tragacanth together, adding a small
amount of wh ne 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.
A cake decorator with very warm hands
would need to use a slightly {inn er paste
th an someone with cold hands.
AIwayscolour pastes with paste food
colourings, not liquid ones, which will
change the consistency of 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 work with.
Man y colours, particularly yellows
and reds, will deepen on standing, so
colour the paste a shade lighter than the
desired fj rushed co lour.
An altern ati ve method of colouring
flowers is to make them all white ,
cream or a paleshade then petaIdust to
the desired shade when dry .
Pew] dust is a powdered food
col ouring based on cornflour
(corn starch ), which can be mixed in
with the petal dust in smaII quan tities
to ontain a lighter shade.
Flower paste should be rolled as
rhml v as possible so that th e petals will
be tran slucent and natural lookin g.
Paste can be rolled out on a thin film of
white fat (sbortenmg) or on a light
dusting ufcornflour (corn starch).
Experiment to lind wh ich one works
best for you.
When doing double frilling as in an
orchid throat or carnation, the paste
should be ~hghtly thicker than usual or
it will not frillsuccessfully.
I( using cornflour (cornstarc h) to
dust the work surface , place it in a
square of butter muslin (cheesecloth)
tied ina bag, or use a pepper pot for a
miniature fl our-dredger.
Making
Sugar Flowers
Take a small piece of paste , co lour it if
required with paste food co louring.
work a little wh ire vegetable far and egg
white into the paste until it is elastic
and pliable , and work until th e paste is
warm as cold paste isextremely diflicult paste from stick ing, but avoid using
to shape. Roll our the paste using a e xcessive amounts or the paste wiIIdry
special small board and pin . Sprinkle out and crack.
the board with a light coating of
com flour (com starch) to prevent the

5.
purp,
:r­ used
on sp
tool,
lengr
1 Sta rr tolling the past e on a light dusting of
• com flour (cornstarc h). C heck that it is
translucent, if you cannot see through the paste it is too
2 Place your cutter on the surface of the paste and
• with your finger s evenl y o ver the cutter press
do wn to cut out the shape.
thick and requires further rolling.

7.
3 To soften petals for /lowers such as a sweet pea,
• use a cocktail stick and gently rollover the edge of
the petal in a gentle motion. This is a very diffe rent
4 C up the petals on a piece of soft, sponge rubber
• using a dog bone or ba II tool . The more pressure
you appl y the more cu pped th e petal will become.
with a
direct)
ti me r.
principle from frilling as for th e carnation.

174

5
Petals and fol iage wiII sornet imes ha ve co be

• veined. The tool shown is made spec iall y for th is

purpose but a cacktai Isr ick or porcupi ne qu i 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 stro king movement alo ng th e
length of the petal or leaf.
6 On most flowe rs, especia IIy pulled flowers,
• cu tting plays an important part in the 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.

Many flowers have CO be frilled. Use a wooden

Stick petals and attach to each other with fresh

7
• cocktail stick and frill the outer edges of the petal
with a firm rolling movement in a back and forward
8
• egg white using a small clean paintbrush, but do
(lot Ieave til is in the egg wh ite when it is not needed or
direction, take care to keep the paste moving all the you wi11 appl y too much to the surface of the paste. The
time to ensure that it does not stick. petal here is being brushed with egg wh ite prior to
folding on to the wire of the carnation.

175

Making Foliage or
Individually Wired Petals
.,

]
thz
yOl
litn
son
isu
anc
the
qua
eva.
do t:
1 T ake a piece of paste , squa sh between your
• thumb and first finger and , using a pai n tbrush ,
handl e as a m in iature roll ing-pm . S tart ro ll ing th e paste
2. C uto ut the leaf or petal . Th e base of th e cutter
sho uld be o ver the rh icker P~H t of th e paste . afo!
N O(I

ret aining a th ick part at th e end near est to you. Then

roll from th e left and right hand Sides in o rder to th in
the paste evenl y a ll the WHy over , but leaving it thic ker at
one end .

2 ~

a sof
hom
creal
plate
rnix t

Take a piece srzs. to J O-gauge green co vered

3
• wire in your righ t hand, dip th e hooked end in a
little egg white. then pick up th e leafholding firmly
4
T ake th e leaf an d place on a rubber or plasn c

• vei ner. 111eo place on a p iece of spo nge rubber

and, using a veining tool , mark the ce n tra l vein to give
between the thumb and first finge r of you r left hand. the leaf more ch aracter. Vein o n both sides.
Push the wire into the leaf, th e pressure en sures th at th e
wire goes in straigh t and stops it from piercing through
th e paste. The wire need s to go in abo ut Srnrn (Y4 in ).

3.

the p
sho u
strok
of the
prine
have
edges
Colouring
Flowers

For certai n flowers you wi II

1 • 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 Iy srna II
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,

T ge t a soft overa II effect on

o
2 • your sugar [lowers you will need
a soft round N04 Here a
brush.
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

3 • requ ired on the outer edge of
the peta Ionly, a short, firm, fla t 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

 4 Here a blackberry leaf isdusted

• prior to varn ishing, again a
flat, firm brush has TO be used. Th e
copper co lour is used to give a IiI t le
depth to th e leaf and is brushed down I

~
one side of th e leaf only.

]
5 There are se veral waysto
• achi eve a sh iny surface on
foliage. The method used here
n
empl oys a com mereially avai lable
confectioner's glazeused in the
bake ry for varn ishing marzi pan and
chocolate for d isplay purposes. It is
edible bur has an unpl easant taste.
Brush th e glaze o ver the surface of the
foliage and stick th e wire in a stand for
about 15 minutes t o drv. Two other
meth ods you can use for shining the
surface of th e paste are pa in ring with
gum arabic glaze, or th e leayes may be
held in th e steam ofa kettl e for a few
seconds. Th isgives a glossfinish but it
is prone to go ing matt in damp or
humid weather.
1
--'
its

Here con fectioner's glaze is

I
6 • being used on blackberryfruits.
Once you have fin i shed using your L
brush, clean in a spirir based cleaner,
such as white spirit ordry cleaning
fluid.
5
leal

178
 eaves may be made very quickly and

Daffodil L effectively using floris try tape. This

tape is available in a variety of shades and
may be coloured with dust.

Leaf

Cut a piece of wire approximately the length of

1 • the leaf you want, and (I slightly longer piece of
floristTy tape,
2. Take the Ilori stry tape and stretch it, this opens
up the tape releas i ng a glue so it sr icks to i rse If.

3 Place the 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. N ow run your finger over the surface of the leaf
to stick the two sides together.

5 Take a pair of small sharp scissors and cut out the

• leafshape. Th is is a daffodi Iso it is a long, rh In
6. The finished daffodil leaf with its two cut sides.

leaf with a pointed end .

l79
7 Here is a mimosa leaf made in the same way, but
• it has a more regular lea f shape. Take a pa i r of
sharp scissors and make cuts at an angle up the leaf.
8. Continue unti I you have cut both sides and
achieved a feathered effect.

9
Twist the lea(in a spiral to givea J·dimensional
• effect. 10. Here the finished two leaves and a finished

spray of mimosa .

; .

180
 LESSON 15

Pulled
Flowers
 and, mo ulded flowers are usually known

Pulle d and H as pulled or finger flowers. They are the

easiest flowers to start with as little special
]
Finger HowerSqUiPmenliSneeded. ]

]
tll,

2
do'
ins

This lesson begins with pulled basic flower and the more [idd Iy it is to
blossom which is the easiest flower to perfect. It is be t ter to sta rt off with a EQUIPMENT

master and progresses to more larger piece of paste, perfect the Sharp modelling knife

complicated flowers like the flower, then reduce down the size Wooden modelling stick

snowdrop. The more difficult flowers rather than risk becoming frustrated Dowel or end of paintbrush

are featured towards the end of the and disappointed working with tiny Modell ing tools

chapter so if you ha ve never made any petals. Making evenly shaped petals Petal dust

pulled flowers before, it is best to

begin with those at the beginning of
the chapter. Remember that the
and perfectly balanced flowers comes
with practice, and the more practice
you have the better your finished
Paste food colouring

Wire

Floristry tape

3
the
smaller the piece of paste that you flowers wi IIbe. Stamens
one
begin wi t h, the srna Iler the fin ished leru

182
Basic
Blossom

Take a pea-sized piece of

1 • flower-pasce. chisshould be
thoroughlykneaded so that it is soft
and warm.

Mould into a small cone shape.

2 • dip the pointed end of your
dowel into cornflour (cornstarch) and
insert into the thick end of the cone.

Ta king a sha rp modeIIi ng kn i fe

3 • make five equal sizedcuts for

the five petals. The cuts should be

one-quarter to one-third of the total
l.---­
lengthof the cone.

183
 Remove the dowel and open up
4 • the flower by pushing your
finger into the centre.
an
pc;
Rc

COl
eac
wii
suf
spr
tht

5 Taking each petal in tum

• process by squashing, pinching
and pulling .
en ,
fre,
tht

6 You should end up with a

• flower w j t h f veequal petals,
9
bac
but remember thi s will only be bac '
perfected with practice. fini:

184

 Placeyourwooden stick back

7 • into the throat of (he flower
andpull the petals up slightIy to
produce a niceshaped flower.
Removethe Stick.

Take a piece of 28 or 30-gauge

8• coveredwire. The wire usually
comes in packswith long strands, cut
eachone into four to gl ve lengths of
wiresuitable (ormost flowersand
sufficienr to wire the flowers into
sprays without being wasteful. Bend
the wire to make a small hook on one
end, dip the hooked end into a little
fresh egg white and thread through
the throat of the flower, asshown.

Pulllhe wire through until it

9 • sitsinto the soft paste at the
backofthe flower. Squash the Hower
backaround the wire. You now have a
finished blossom On wire.

185

 Winter Jasmine
Colour some flower pastegolden Ti
yellow, roll into a ballthen intoa long int
thin cone. Stick your dowel inro the tl
thicker end of the COne. Cursix petals lin
and remove from dowel. Squash, pinch eai
and pull each petal. Take a piece of slij
3D-ga.uge covereddark greenwire, 28
make a hook and slidedown the throat. wll
Place a singlewhite stamen into the ch,
throat (refer to picturebelow for pal
positioning). To makethe buds, roll a on
thin cone, stick the hooked wireinto ov
the thin end, cut approxi rnately one­ Re
third of the waydown with 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:
colouring with clearspiritand paint
calyxeson each of the flowers and buds Co
col,
using a small, fine paintbrush and leave
to dry. Tape the flowers and buds in cor
clumps on to a piece of 26-gauge wire a ck
pet;
wh ich then acts as the main stem.
Winter jasmine is a mostattractive the
flower to use in winter sprays and len:
contrasts with the usual red and green wil
Christmas cake spray. a cc
pet
gau
thn
a sn
cen
sric
the
wh:
pas:
per:
anc
the
the
Fill
Du
flO1
wit
are
are
Em
186

Daisy

Take a small ballof whi te paste, mould

into a cone, pressa dowel into the
thickerend. Cut eigh t petals, and open
Ill" theflower. Squash. pinch and pull
each petal then pinch each one in to a
~ I igh t point. Make a hook o n a piece of
2S-gau/!cdark green wire, dip in egg
white and thread down the throat at
thellower. Take a piece of dark yellow
paste, roll into a tiny ball and holding it
on yourfirst finger, presssome tulle
overthe top, to ilatten and mark it.
Remove the tulleand insert into the
centre ofthedaisy with the patt erned
edge uppermost. Usinga small ca lyx
cutter, cut out some thin green paste.
Thread up the wireand stick th is ont o
thcflowcr.

Finishing
Dusta little green pe ta l dust into the
centreof the daisy. Daisies are an
attractiveflower to use on man y types
otcakc and are particularlysuitable for
springorsummer weddings.

Primrose
Colour some paste co a creamy lemon­
colour, rollinto a ball then into a long
cone with a slightly bulbous end. Stick
adowel into the bulbous end, cut fj ve
petalsthen make a further five cues in
thecentre ofeach petal but halfthe
length of the first curs. Open up and you
will have five heart-shaped petals. Run
a cocktailstick over the surface of each
petal. Make a hook on a piece of26­
gauge mid-green wire and thread
through the throat of the flower. Place
asmallballofgreen paste into the
centreofthe flower and using a coc kmil
stick, make a small hole in the cent re of
thegreen piece and use eo posit ion a .
white stamen. Roll our some green
pasteand cut a calyx using a mini 8­
petaldaisy, cup on a piece of sponge
and thread up the wire. Stick around
thebaseofthe flowersquashing around
the base.
Finishing
Dusta little green into the cent re of the
/

flowers. To make a stem more in scale

with the flower, two additional wires
arc raped to the originalon e. Primroses
arc ideal for spring cakes, particularly
Eastercakes or counrrv-stvle weddings.
187

 Violet
Co
Colour some pastevioletand roll intoa
CO l
ball. Mould into a cone and 51 ick a
co:
dowel into the th icker endof thecone.
rhl
Cut one petal to a quarterofthe total
fra
circumferenceof the paste andfour
eqi
peta Isfrom the remainingthree­
qUI
quarters. Open lipthe flower and runa
cocktai I stickover each petal in tum.
pu
qu :
Make a hook in a pieceof28-gauge
taO
green wirethen bend a hookat right
thl
angles. as shown and dip the hookin
vio
eggwhite. Thread the wirethrough the
ani
throat and pushso that the wire pierces
thl
the top of the back of the conebehind
thl
the top two petals, makingsurethat rhe
as,
largersinglepetal isat the bottom. Cut
off any excesspasteand then bendback
he
Ian
the wire. Rollout somegreenpaste, cut
a diamond shape and then cut eachside
shi
via
almost in half to make the calyx. Place
over the violet asshown. Make an
FiI
orange stamen and insert into the
Du
centre of the violet. Mark a veindown
vi<
the centre of the large petal.
ha l
co :
Finishing
vic
Dust with dark violet pew 1dust. Mix a
M
little white petal dust withsomeclear
SOl
spirit and paint a fewIines into the
lin
centre of the violet.
fin
Violetsare a common flower
cei
connected with springtimeand Easter.
They look attractive On Easter cakes.
co
eggsand birthdaycakes.
da
SU I
sp

188
Heartsease
Coloursome pasteto a pale ivory­
colourand roll into a ball. Forminto a
cone shapeandsticka dowe Iinto the
thicker endof thecone. Cut one petal
hum a quarter ofthe cone and four
equal petalsoutof the remainingthree­
quarters. Squash and pinch but do not
pull each petal, then rolla cocktail stick
quite firmlv overthe surface to thin out
rather than to hi II the petals. Place on
thewire in thesamewayasforthe
violet. Squash to elongatethe petals
and topush uprhe top layer. Once on
thewire insert a small ballofpaste into
thecentre and makeacavity in it using
asmall ball toolor the end ofa glass­
headed pin.Tlick the bottom of the
large pctal underto makeit into a heart
shape. The calyx is the sameasfor the
violet.

Finishing
Dust the top twopetals mauve or
violetand 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
lines usinga veryflne brush. To
finish, dust a little green into the
centre ofthe flower.
Hearrsease isa wild pansy and
comes in a rangeofcolours. They are
dainty colourful flowers making them
suitable formany typesof cakes and
sprays.

189

 Heartsease
Coloursome pasteto a pale ivory­
colour androll into a ball. Fonn inro a
cone shapeand sticka dowel into the
thicker endof the cone. Cut one petal
from aquarter of the cone and four
equal petalsout of the remaining three­
quarters. Squashand pinch but do not
pull eachpetal, then rolla cocktail stick
quite firmly over the surface to thin out
ratherthan to frillthe petals. Place on
thewirein thesame way asfor the
violet. Squash to elongatethe petals
and to push upthe top layer. Once on
the wire inserta small ballof paste into
the centre and makea cavity in it using
asmall ball toolor the end of a glass­
headed pin. Tuck the bottom of the
large petalunderto make it into a heart
shape. Thecalyx isthe sameas for the
violet.

Finishing
Dust the to p two peta Is mau ve o r
violetand the other three yellow. the
backsshould be dusted in the same
colours. Puta touch of mauve and
violet on the bottom petal for detai l.
Mixsome black paste colouring with
some clear spirit and pain t t he centra I
linesusinga very fj ne brush. To
finish, dust a little green into the
centre of the flower,
Heartsease isa wild pansy and
comes in a rangeof colours. They are
daintycolourful flowers mak ing them
suitable forman y types of cakes and
sprays.

189

·k
 Freesia 51.
Make a dumbell shape in ivorypaste Rol
and stick a dowel into one end. Cut mal
into six equal petals; squash , pinch and intc
pulland rolla cocktail stick over each W1i
petal. Place onto a piece ofsponge and cut
cup each one stroking the baII tool from pen
the outside co the inside of the fl ower. sma
Push your ballordog bone tool down the
the centre of the thro at to stretch it all(
slightly. Tak e a piece of 26-gaugemid­ ave
green wire. hook and dip in egg white pet.
and thread through the throa r, Take a inrc
smallball ofpaste and place inside the ton
flower to act like a plug to stop it from pet:
s]idingdown th e wireo Using a 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 folded ends into the hole using the cal,
thumb and first fingersof both hands whi
squash slightly. Move three alternate in t:
petals inwards and othe rsoutwards. one
squash just below the petals. To make forr
sure the centre th ree stay in posi tion, grei
the outer three are then gent lyeased up stic
to sit as a second row an top of the first mo
three peta ls.
The buds ale made in varioussizes, Fin
the smallest are just tiny co nes placed Mi
on wire and rolled down between the spit
fingers to {a nn a long, elegant bud. The liru
twisted buds are made in the same way pet
as the winter jasmine buds. sm
anc
Finishing ma
Once dry, dust with pink or an yother
appropri ate petal dUST. as freesias come 100
in a widerange ofcolours. A Iirtlegreen 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 half green
and half pink. Youwillneed graduated
flowers as wellas buds to make aspray.
Mix a little green food colouring
with some clear spirit and paint a calyx
on each bud and flower. Paint a small
singleleafshape on eithe r 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.

190

 Snowdrop
I
Roll a small ball of whitepasteand
make into a cone, then stick a dowel
into the thickerend and cut six petals.
While still on the stick, make a smaller
cutin thecentreof three alternate
I

I
I
I

petals asfor the primrose. The three

smaller petals are [I smallerversionof I
I
theprimrose. Squash, pinch and pull I
allofthepetals, rolla cocktailstick I , I
over eachof them. Cup both setsof
petals on a foam base. Stick a ball tool
I
intothecentre and roll the flowerabout
tomake a bulbous cavityabove the
I

petals. Make a hook on a piece of30­

gauge darkgreenwireand thread
through the (Jower; bend over so the
I
snowdrop hangslikea bell. Slide a I
small ball ofpasteaiong the wirefor the
calyx. sticking in positionwith egg I
white. The three heart-shaped petalssit
inthecentre, with the three largeplain
oneson topsimilar to the petal
I
formation of the freesia. Rollout some
green paste and cut a thin pointed strip,
I
stick thesquareend on to the wire and I
mouldaroundthe base of the flowers.
I
Finishing
Mix some greencolouring with clear
I
'--­ 1
spirit and paint someveryfine feathery
lineson to the three heart-shaped
petals. TIle snowdrop beingso very
small isthe mostfiddly flower to make
andonlypracticewillenable youto
manipulate tiny petals.
Snowdrops have a limited use, but
look very attractiveon a winter or early
spring wedding cake, especiallyifthe
wedding isin a white and green colour
scheme.

191
 Bluebell
Colour some paste bluish-rnauveand
roll into a ball. Mould into a dumbell
shape, slick a dowel into one end and
cut six petals. Place each 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 I
floweras shown to produce a ribbed S
effecton the side. Tape two white [\
stamen ends onto a piece of wire, and 'j
wrap round extra tape to stop the wire t(
coming back through the flower, il
Thread the wire and stamens through
the flower. The buds are made by
making a small cone, pinched with
tweezers.

Finishing
Bn..Ish with <l mixture of blueand violet
dusting powder. Tape the buds and
Oowers onto <J rnai n stem as shown
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
the technique IS mastered youshould be p(
able to look at almost any flower and be
able to make it by deciding which of the B
skillswillbe necessary to use, The
flowers covered in tlus chapter maybe A~
used In a wide vaneryofsprays and del
floral arrangements. The following COl:
COrl
provide just a few ideas to get you
started. nee
blo:
frill
bel.:
Jus
6ID!
ribl
whi
wir i
23t
teel

192

Baby's Booties

A pairofsmallchina baby'sbooties
filled with pastel-tipped petal blossom
would be a suitable giftfora new arrival
or fora christeningcake. FiJI the
booties with white sugarpas re : make
some figure-of-eight double loops in
lemon and white. Placethe ribbons in
position then arrange an assortment of
sizes ofbasicfive petal blossom and buds
in the bootiesusinga pairof tweezers.
Tictwo lemonbows and stick theseon
to the front of the booties with royal
icingor a rubber based glue.

Posy of Pulled
Blossoms
A posy of pulled flowers would make a
delightfuldecoration on an y cake and
could L~ madein a varierv or colour
combinations. For thrs posyyou will
need fifteen to twentyfive-petal
blossoms and about eight buds and
frilled blossoms. \\!hen dry, these have
beendusted with blue and peach petal
dust and arranged with blue and peach
6mm (1f4in) figure-o r-eight double
ribbon loopsand placed in to a small,
whitepostholder. For instru ctions on
wiring flowers into a sprayrefer to page
236 whichcovers the posy wiring
techniquestep-by-step.

193
 Peach and Blue
Anniversary Cake
Th e same peach and blue posyon an
AnniversaryCake . The cake isa 20cm
(8in) heart-shaped and royal-teedin
peach with shellsand runningSscrolls
piped w irh a No 42 tube then with a No2
and overpiped in blue using a No I tube,
A blue polka dot ribbon has been
attac hed around the side with a bow on
the fron t. An inscription, a small
feathe r butterflyand the posy finish the
top decoration.

Silver Vase
Th is flowing vase is fi lled with dozensof
pulled blossoms and buds. Make five
identical legs and wireinto a posy with
double figure-of-eight loops and stick
Into a silver vase. This would be an
ideal top decoration fora three tier
wedding cake. (refer to Lesson 19for
information on wiring flowers into
posies. The principle is like the reverse
S o r c rescent spray) .

Garden and
Wayside Cake
Cove r a long oc ragonaI board with
wild silk or an alternative fabric. The
edge has been finished with a velvet
ribbon arou nd it. Cove r a smaII oval
cake in pink sugarpasre. Transter on to
the board with an oval pieceof waxed
paper between the cake and board soas
nor to strain the fabric, making it
possible to reuse the board. Pipea small
shell around the base. A 3mm (lfain)
ribbon is placed above the shelland
then forget-rne-nors are piped freehand
over the sidesof the cake. A sprayof
flowers is placed in to posypick with a
butterflyand inscription to finish off
th is unusual floralcake.

194

 LESSON 16

yudhacookbook.com

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 slight ly
dIfferent looking flowers. For some of
the flowe rs shown, you wiII ha ve to
modify the shape of a curter.

The Rose
The rose, symbolof ererna I love, peace
and serenity, isthe most pupu lar 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
shades for the outer petals. I f 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 rhick end of
the cone. Mould around the base to
cover up the hole. Leave to dry for a
day.
Rollout some paste un til it is
translucent, cut six petals. The cutters
shown come in a 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 row by placing
another pewI on the join of the first
petal, stick with a little eggwh i te,
leaving the 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 tin ue on 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 frilling or softening of petals is
needed for the first six petals. Donot try
to cover the cone, if you look at the
picture the petals only come about two
th irdsof 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 I ighter paste, cur four
petals using a slightly largercutter,
soften these fourslightly usinga
cocktail stick, position these petals
usingan overlap, spiralformation.
Add further whire paste 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 as a mini
rolling-pin and cut out usinga calyx
cutter. Cut feathers on the legs, as
shown, tum over and, usinga large ball
tool, make a cavi tv for the rose to sit in.
Slide 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 stick along
the edge and dearly mark the central
vein. Support in a natural position until
complete!ydry.
Dust with a mixture of brown and
yellow petal dust. When dry, dust the
rose with a peach and pink mixture
when dry to lift it slightly. The roseand
leavesare then wired together to form a
spray.
 Roll out some paste but do not roll it
until It IS translucent as you would for
the rose, as for double frilling it should
bea fraction thicker. Cut out the
carnation shape using the carnation
cutter.
Using a sharp modelling knife, cue
on the indentation and two or t hcee
timeson the curve of e<tch scallop. To
frill the petal, take a cocktail stick and
working with a flm) rolling movement,
start frillingthe paste keeping it moving
,111 the time so that it does not st ick to
the work surface. Continue until frilled
all the wayaround. Tum over onto a
piece of thin foam, brush egg \Vh i te all
over the surface up to the frilling.
Thread the wire through the centre.
fold in half, remove from sponge, 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 bring from the side
to the centre so it is an S shape if looked
at fromabove. Squash firmlyonto the
wire.
Co nt inue by rolling, cu It ing and
frilling two further petals. These are
turned over. brusl led wi th egg white
and slid onto (he wire. Hang upside­
down supporting between your two
thumbs and first fingers. Squash all
around to get an even finish.
Make a small cone, known as a
Mex ican hat . rolling from the inside to
the outside using a paintbrush . Cut out
a calyx and then. as for pulled flowers,
stick a wooden dowel down the centre
Spray Carnation to open it up. Slide this up the wire and
attach to the carnation with egg white.
Spraycarna lions are a very lovelv, To make the bud, surround a yellow
delicate flower to use on any cone with a piece of green paste and cut
celebration or wedding cake and can be through {hegreen usinga modelling
finished in some interesting colour knife to reveal the yellowunderneath .
cornbinat Ions. Place onto a piece of wireo Dust the
petals with a flat brush using a
contrasting colour and wire with the
Method bud into a spray.
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 pliers and wrapa piece of
fine rose wirearound the top piece.
Using a thin pieceof flonsrry tape, wrap
around the top and tape down to the
baseof the wire.

197
 Clematis

The clematis isan attracti vedim ber,

The one illustrated isMontana, a small
tour petalled variervchat flowers in
abundance. There are many boob on
clematis or look in a seed catalogueas
these usually include fuIJ colour pictures
of clematisand other flowers. Clematis
wouldbe very dramatic on a wedding
cake and, as many men grow them,
cou Id be used on a man's cake along
with the foliage.

The CUL!er forClematis Montana is made

bysquashing aChrisnnas Rose cutter, •
Only bend cutters if you pian 10 do me
flnwcrs on aregular bas'S, if no! use a
cardboard or pelal rempkue, (see /Xlge
227).

Method
Roll out some pink paste and cue (our
petals. Place On a verner like a violet s
leaf, hibiscus, or an y with fun-shape t:1
veining. Tum over and using a veining ~
tool or cocktailstick, mark rwocurved C
lines then tum over so the lines are P
underneath and inverted on the top. g:
Takea small, circular piece of paste SI
and make a hole in it. With the end ora gl
paintbrush, squashslightlyand Sit 81
inside a woodencurtain ring. Assemble Vi
the (ourpetals onto the tiny centre ring
sticking with eggwhite and using the
curtain ring as a support. Stick some
whi re stamen cotton pieces around the
centre. These have been dusted a
mauve colour in places to produce a
striped effect.
Take some veliow cotton, wrap
round the tweezerends that should be
about 12mm ( I/zin) apart, wind around
13 ti ruesand then twist some wire
around the centre to form a figure-of­
eight with the wire in the centre. Cut
the two loops and trim offthe eXCe55
wire 311d stick into the centre of the
clematis to make the massofyellow in
the centre. AlIow to dry before
finishing. Dust with 3 stripe of darker
pink down the centre of each petaland
Just a little green around the baseofthe
petals.

198

Petunias with their floppy flowers come

inmany colours, includingpink,
mauve, lilac, redand stripedeffect
ones. They would be niceon a summer
birthday or getwell cake because they
are a cheery flower.

Method
Make a cone and place (Iatend on to
work surface; roll usinga painthrush
until you have a central node and a
refined outerarea.Cut out usinga
petunia cutter. Placea wooden dowel
into thecentreofthe flower and rotate
ittostretch the throat open. Holding
theback of the flower, placeeach petal
down on £0 a leafverner £0 vein the
perals, then holdingon the edge of your
work surface, frill the petal edgeswith a
cocktail stick. Tape frve white stamens
together withfloristrvtape; makea hole
at thebase 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 piece of wirewith mid­
greenfloristry tape. Oust with two
shadesofpink to geta striped effect
with a littlegreen in the centre.

199
 Fuchsia
s
Fuchsia are ad rarnatic summer garden
flower hanging in clumps Ii ke ballerinas su
in the sunshine. Th eycome in a~

hundreds of colours. lc is best copick da

some real fuchsiasto achieve narumlistic in
colouring, or have a book with colour pa
photographs at hand. For th e best
effec ts, show them hangingout of a M
vase as they do naturally. Ta
of
Method d 11
T alee six sta mens in dark pink with one IJe I
longer than the other live. Wrap a pe
pieceof28 -gauge green wirearound pa:
them . Squash a pieceof paste around sec
the wire and a piece of paste on the PI,
longer seamen. Roll out some paste and lilt
cut six petals using a rose petal cutter. dO'
Laythree in a fan , sticking wi th egg rlu
white. There are ten wrapped around thl
the small cone of paste. Stick the ani
further three pewIs, after fri llingthem Of l
slighdy, overlapp ing the joins in the sql
first row of peta ls. Roll out some more a t;
paste and , using a pansy sepal cutter. i
cut out four petals. Put on to a vciner to th,
give some detail to the petals. Roll a arc
cocktail stick over the edge to frill pie
them. Place the four on asshown. Pia
Mak e a Mexican hat shape in a second inn
colour, rolling with a paintbrush, and the
cut Out th e back piece of th e (lower th e
USI()g a fuchsia sepal cutter. Vel n each bac
petal and cup upwards on a piece of pas
foam. Make a cavity in the centre for anc
the first stage to sit into; slide the p ie.
prepared centre up through the back OV E
piece sticking with egg white. StICk a the
ca lyx on to th e back, and dust usir
according to colour scheme and also set '
dust the long stigma green. Tape on to a son
piece of 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 wellas
darkveIvery colours. They can be made
in a white or pale cream and dusted or
painted in a colour.

Method
T<Ike a small pea of paste. Hooka piece
of 26-gauge mid-green wire and stick
the pea of paste on to the hook that has
beendipped in egg white. Flatten the
pea ofpaste sligbtly. Rollout some
paste and cut out a rose petal using the
second smallest petal in the rose set.
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 a slight right angle.
Rollout some more paste and cut out
the first main petal. Roll a cocktail stick
around the pera I to ITi II, place on a
piece ofsponge and vein the centre.
Place the prepared wired inner petal
into the cen rreof 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 Ie more
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 new petal
using eggwhite. As the sepa Isstarr to
setyou can move them abour. Rollout
some green paste, cut out a calyx. Place
on a piece ofsponge, cup and slide up
the wire, sricking with egg white. The
tendrils are made by wrapping pieces of
wire around 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 ou t some white paste and cut six

petals using a lily cutter. Soften each
petal slightly using a cocktail stick; vein
on the reverse side of the petal. Stick Cvrnl
wi th a Iitt Ie eggwhi tc I nro a fan shape. colon
Roll into a hollow cake pillar to dry. sized ,
This is ideal to support the shape of the suita]
lily. For the stamens and stigma make a spray '
hook In a piece of 26-gauge Nile green CYIllI
wire: take five li Iy stamens and use 242. Q
fine pieces of tlonsrry rape to cover the weddi
white cotton undern eath but leave the
lemon top exposed. The st igma ha~ a
small cone attached to the top and IS Me
Roll
divided into thirds. Brush the lemon (I

lilysta mens wi tb egg white and dip in part a

dark yellow or gold petal dust; leave to inscm
dry. Bend the stamens with tweezers vein 0
and tape all five in a ring to the longer suital;
stigma. Once th e lily is d ry, slot C ymE
through the lil y base- if wi ring. tape again .
the end ofstamen arrangement to a
24-gauge wire and slide a smallballof
green paste up the wire to fill in the end
of the lily. Dust with green in the foml
of linesdown the cen tre of each petal.

n
f

202

..

Cymbidium
Orchid
Cvmbidiumscorne in hundreds of
colours and variousshapes. A medium
sized cutter was used to make an a rchid
suitable for usc in a corsageor in a large
spray, The step-by-step assemblyof the
Cymhid iumorchilliscovered un page
242. Cymbidiums are popular in autumn
wcddingbouquets.
Method
Roll,HI[ somepaste retaining a thicker
part asfor leaves. C ut out a petal and
inserta hooked pieceof3D-gauge wire,
vein on a sweetcorn leafor other
sultable veiner, Th ree large and rwo
Cymbidium. One largesepal is set
against a piece of dowel or lube, the
\
'.,
\
orher four sepals, two large, two
smaller, are all laid over the curved
surface. Leave to dry. To make the
throat, hook a piece of 26-gaugewire
and place a medium cone wit h a
bulbous end on tb e wire. Roll out two
small wing shapes using a paintbrush
handle. Make OJ small cut with scissors
undern eath each wing and vein both
sides along the length of the column.
Bend over, make a small cavity and
place a tiny, yellow ballsplit in halfin
position sticking with eggwh ite oRoll
out some green paste, cut Out the throat
peta l. the n cut two small pieces out
with a modelling knife as shown. Frill
the scalloped end ofr he petalon ly,
then cup the two side sections of the
203
petal on a piece of foam. Vein the
centre using a veining tool. Brush a
little egg white at the baseof the peta l
and place the column in position.
Wrap th e sides of the: petal over to
meet , then stick the throat peta l about
one thi rd of the way up the column.'
Place a small piece offoam rubber into
the throat to stop it collapsrngwhile
dry ing, (thi s has been removed from
the photograph to show the deraiI).
Placeon "1'1 orchid former , or support
on a piece of foam rubber allowing the
orchid to hang over the edge. Leave all
parts to dry. The assemble and finish ing
is covered in dept h on page 242 .
 N
Catdeya C1

Orchid MI
de
Spl
la.
qu
The Cau leyaorchid, known as the and two that are slightly shorter and veiner, alternativelyyoucan buy
bridalorchid in America, comes in wider. The thin ones have a deep , wide orchid throat veiners. Frill all the way MI
shadesof cream, pink, mauve, lemon veiningon the backs of the peraIs; coe around. Place the throat petal on a Ml
and white highlighted with various isset-offagainst the cubingand the two piece ofsponge rubberand position the gat
pastel colours; it isa very feminine wider petals are both frilledand veined column at the base of the petal, yellow en
orchid with its frilly petals and is always and set-offover a curve. Ali of these ballside downwards;bringboth sidesup bu
a popularchoice. The assemblyof the petals goon 30-gaugegreen wire. to meet at the top stickingwith egg be
Cartleya isidentical to that of the white. Support in an orchid throat • SOl
Beginthe throat bymaking a
Cymbidium. column , which is shorter than that former or over the edgeof somethick p<;;
for the Cymbidium. Vein down both foam. Dust wito a palepink and lemon rw
Method sides. Make a small yellow ball and cut petal dust. co
Roll out some white paste usinga in half, th is is then placed into a small set
paintbrush, retaining a thicker part at cavity. The throat petal iscut out and or.
one end. Cut three long, thin petals veined on any fun formation leaf au
ce
an
tH
ba
ce
eg
da
sp
sp

Cutters far me Cattleya orchid.

204

Miniature
Cymbidium
Miniature Cymbidiumslook very
delicate on a tiny birthdaycake or in a
spray asa filler in conjunction with.
largerorchids. The yare quite flddly and
quite timeconsuming to make.

Method
Make a tiny hookon a pieceof 28,
gauge wire. Placeasmallcone 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 bottom edgeand 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 paste and cut
out the petals. Vein each one down the
centre. Cup one petal, then tum over
andcup the other four, when you tum
the petaloveragain they willcurve
backwards. Slidethe throat into the
centre ofthe petalsrickingwith a litt le
egg white; leave unti I dry. Oustwirh a
darker pinkand paint a fewde1kate
spots using petaldust mixed with clear
spirit .

205

GYf
byn
Mal
pas]
the'
fiHs:
A
win
skcl
plao
rea]

Mel
Bu)\
han
Altl
mid
.3-4
out,
han

Doris Pink each petal and frillwith a cocktailstick.

Doris pinksare a popularflower
especiallywith the oldergeneration.
Theyare a mid-summerflowerand part
of the Dianthus family. Pinks can be
used likecarnations in spraysor used in
a natural bunch on a cake tied in a bow
with a piece of ri bbon. Using the
smaller cutter youcan make French
marigoldsusing the 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 end of the cone.
Make a cavity in the top of rhe cone for
the perals. Rollout some pink paste and
usinga medium primrose cutter, cut out
the petal. make a few tiny cutsaround
Dust with dark pin k powder straight
away. Brush a little egg white into the
cavity of the calyx. place the first petal
in position and repeat with a further
three or fourpetals until the flower is
finished. The centre peraIshould be
squashed up to fill the centre cavity.
Marigold
Use the cutter which is the next size
down to the Dorispink and usedark,
yellow paste with orange dust. The
calyx has tweezerpinches down it and
has a touch of burgundypetaldust put
on when dry.

206
Gypsophila
Gypsophila isa dainty flower favoured
by many brides fortheir bouquets.
Making thesetiny flowers in flower
paste isvery time consurn ing, but worth
thetrouble, itsoftensharsh flowers and
fills insprays beautifully.
As it isalmostimpossible to tape
wires successfully to such a dainty
skeleton of branches, it isbetter to
place the sugar budsand blossoms onto
real gypsophila stems.
Method
Bul' a pieceofgypsophila and dry by
hanging in a dry placefor3-4 days.
Alternatively, placesprigs in the
microwave on defrost setting forabout
3-4 minutes. 11)isdrawsthe moisture
out,itthen only needsa dayof
hanging. When dry, the flowers will be
I.,
branches are in threes so youcan use
crispy to the touch. Cut these all offso
youare left with just the stems. Roll
tiny balls of whire paste and stick on to
someof rhe branches. Most of the
207
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 of the petal in
half and frill the whole blossom like a
min iarure carnation .
Take two cur, fri lled blossoms, stick
together with egg white and make a
tiny hole in the centre , Using a cocktail
stick, thread on to the end of a stem, as
with the spravcamation, fold in half
Iikea fan, then into an S shape. Squash
with tweezers. Continue allover the
sprigof stemscovering with flowers.
Th issize spraywouId take about 30
minutes to complete. When finished,
dry fora while then mix somegreen
paste colouring with someclear spirit
and paint the caly:xes on each bud and
flowerwith a fine paintbrush.

 T
sa
sa
h;
co
v~

sl!
s t!

F
He
bel
Th
she
pai
rh

Th
Ivy Leaf and insert a 28-gauge green wire that
hasfirstbeen hooked and dipped in egg
ma l
an c
wid
Ivyleavesare a useful foliage suitable (or white. Place on an ivyleafor violet leaf
like
year round use. The yarc, however, veiner or usea real ivy leaf. Vein on
particularly useful forChrisnnas cakes. both sides. Run a cocktailstick over the
The onesshownare variegatedivybur edge to soften slightly. Place on a
the principle is the sameforall foliage . spongeand vein the centre of the leaf
usinga veining tool or cockrailstick.
Pinch the bottom slighcly and leave to
Method dry. \Vhen dry, dust the backgreen,
Take a pieceof pale ivorv-coloured then work the variegation by usingtwo
pasteand mil into a ball. Squash. and shadesof green. Brushthe lightershade
roll with a paintbrush, retaininga on.first usinga flat paintbrush and
thicker part at one end forthe wire. Cut brushingfrom the centre to the outside
out the ivyleafpositioningthe baseat of the leaf. then usinga darker shade,
thicker part as shown; hold firmly dust on top of the lighter colour, again
between yourthumb and firstfinger workingfromthe centre outwards.

208
Periwinkle
The periwinkle has been made in th e
sameway asthe variegated ivy using the
samecutter asclematis. but the green
hasbeen painted on by mixing green
colouring with spin t. Starr offwith a
very palegreen forthe background ,
slowly huild up the colour with two
strongershades. Dry before using.

Foliage
Hereseveral varieries of foliage have
been made in the same wayas the ivy.
Theyhave been coloured in various
shades ofgreenei ther bydusting,
painting or varnishing to show
thedifferent effects.

Ferns
Thispicture showssword and
maidenhairfem. Make a wireskeleton
andcut out the leafshapes, stick on
withsoftened(lower paste which acts
likestrongglue. Dustor paint green.

/
I

209
Heart-shaped
Wedding Cake
This elegant cake with its spray of roses
and Cymbidiumorchids is shown step
bystep on page 245.
Instructions
Marzipan and cover a 25 and lScm ( 10
and6in) heart cake. Placeon boards
and leavefora fewdays. During this
time the flowers can be made and
assembled and the lace piecespiped.
Makea paper pattern forthe side by
measuring from the front point to the basewith a N042 tube then pipea
back. Fold the strip in fourand draw an scalloped line along the scribedline and
equalscallop in each division, scribe attach the lace, place the miniature
onto bach sidesof the cake to end up bows above the points. Using a posy
with eight seaIlops in total. The pick stick, make a hole into the cop tier
embroidery may be workedfree-hand and place the spray into position, (page
bur the shaping could be incl uded in 247). This cake has a perspex cake
the original pattern and scribedon at divider instead of traditional pillars.
the same time as the scallops. Stick the
tiny cutout hearts onto the cake usinga
little eggwhite. Pipea shell around the
210

 LESSON 17

Wild
Flowers
 aking wild flowers allows all your

Wild Flowers M creative instincts to come into play.

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 dew i led photogra ph s or
illustrations of the anarom y of the
f10wer in question . When looking ac
the [lowe r you wish to mode 1. trv to
imagine other flowers that a re
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. A s 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
dry before all stages are finished, but
with practice you will become quicker.
Honeysuckle
Wild honeysuckle in soft tones of
cream, yellow and 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 .

Using ivory Hower paste start

1
• 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 o n one end of the
third. Di p the hooks in egg wh i re
then place a tiny cone of paste On
each. Use the end of a paintbrush, as
shown, to make a cavity in the
rhic ker end of each cone to expose
th e tip of the wire.

To make the buds , make hooks

2 • on f ve to sev en 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.

212

..
 Taking the bud in between
3 • your thumb and first finger,

I
curve both the bud and wire gently.
Takea pair of tweezers, bend at the
neck asshown. You wi Il need to
repeatsteps 2 ro J with the remaining
buds, but graduate the size of (he buds I
tnfinish with three or four different
sizes.
!

Take a piece uf paste and roll

4 • 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
I~ ~ ~.
shown. The remaining piece is cut
intofour. This isclearer in picture 7. k:::::::: .....~'--
~ /
~ ___J

213
 Open up the flower by bending
6 • each petal backwards. Roll a
cocktail st ick o n each of th e (our top
0'1
101

tol
petals to frill them sligh tly. flo

1
hal
fiv~

7 Roll the single petal TO

• approxim ately twice Its
orig i rial length using a cockta i 1st ick,
om
cot
int r
be very gentle as too much pressure twe
wi II cau se the pe tal to break. sta~

8 Curl petal under using a ball

• tool. Make a hook on a piece
of 30 -gaug e wire an d thread down
1

Torr
through th roar of the flower. ro fi:

214

 Roll between your fingers to

9 • make a long tubular back ; lay
over a wooden dowcI with the ngle sl
long petal downward s, and push on
top with your finger curving the
flower and wire at th e same time.

T ake three double fi ne

10
• white stamens, fold two in
halfand one irregularl y to end up with
five the same length and one longer
one. Run a pairof scissors along the
cotton to curl them sligh tly, then insert
into the centre of the flowerwith
tweezers. [f youdo not have fine
stamens, use button-thread instead.

11 Squash the centre to make

• sure the stamens are secure.
Tomakea spray. youwill need three
to five flowers.

215
 T o make a spray, you will need
three to five flowers.
111c
hea
heij
witl
pta'
hov
ro b

Finishing
Dust with a soft, round brush and a
mi xture of orange and yellow petal
du st to produce th e soft apricot ton es.
Oust th e lon gest stamen, the cen tre of
the flo wer . and base of t he flower soft
green . The buds are d usted green at
the base and yellow at th e cop. The
1
side
sprocks are du sted green . Tape the end
two fold ed sprocks into the single one free
the n, work ing in a clockwise
mo vemen t . grad ua lly inc rease the size
of th e b uds as you prog ress. Fin ish off
by placin g th e flower in posi tion as
sho wn .

2.

rem "
cq ua
squa

216
 Foxgloves

These tallflowerswith (heirhanging

heads are an excellent wayro give
height toa spray. Theyare made
withoutcuttersso it will take a little
practiseto produce a consistent shape,
however, the sizes need to begraduated
to be most effective.

MouId a piece of cream y pink

1 • 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 from one-quarte r

• of the circumferene e and the
remaining three-quarters into four
equal petals, just like the hearrsease:
squash, pinch and pull each petal.

217

 B
Bl;
sur
Sp t
apj
pel
or ·
Tc
of!
all
ba;
Slit
CO l
CUI
stii
bh
in

th
pn
ve
th
bL
3. Roll a cocktail stick along each petal IO thin
rather than to frill. 4. Stick a ball tool into the thr oat of the /lower to
open it up slightlv .
ae
of

Fi
Dl
gn
V~
lit :
b
co
an

5. Us ing a dog bone tool on sponge, stretch the

throat of the foxglove so it cups slightly. 6 Make a hook on a piece of wire and cakinga piece
• of florist tape wrap over the hook and tape
down the wire.
ry

Th read down through the flower, the th icker end

7 • piece stops the wire coming right through the
foxglove flower.
8 To fin ish the foxglove, dust with pink dusting
• powder. A white petal dust is dusted on the inside
of the flower. Mix some burgundy pet al dust with some
clear spirit and paint the spots on the th roat.
218
Blackberries

Blackberries are a veryartracn ve late

summer or autumn fruit wi red in 3
spray, asshown. They lookmost
appealing on a man's birthday 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
a hooked 26-gauge wire; roll lotsof tiny
balls ofpasteand stick these a II over the
surface ofthe cone unt iJ it iscornplerelv
covered. Rollout somegreen pasteand
cut acalvx; slide th is up the wi reand
stick to the base. Forthe under-ripe
blackberries, make in the same waybut
in mid-green paste.
The leavesare made the same wayas
therose and ivy leayesfea tured in the
previous lesson, but ve in usinga meta I
veiner for astrong veiningeffect. Make
the/lower in the same way as the
buttercup using a srna I! rosecut ter with
a cluster ofyellow stamens in the cen tre
oftheflower.

Finisbing
Dust the under-ripeblackberries dark
green one sideand red the other.
Varnish. The flower isdusted with a
little greenin the centre, while the
leaves aredustedwi th a touch of
copper-coloured petal dust, these too
are varnished.

219
 Acorn
Acorns can be usedon a man's cakeor
on a box ofchocolatesasa change from
flowers; they can alsobe used wi rh
autumn flowers to make an unusuaI
spray.
For (he cup of the acorn, makea
cone in mid-brownand mark with the
end ofa No.2 rube (0 gee a seaIloped
effecton the cup. The acorn ismadeby
making a cone in green with a tiny tip
of brown placedon the top. Stick into
the cup usingeggwhite. To makea wire
acorn, mourn a cone onto a wireand
hollowour the cup, the wireshouldbe
at right angles to the cup; placethe
acorn in as before. The leavesare made
as instructedon page 196.
Painethe acorn with green colouring
mixed with clearspirit to givea natural
effectto the acorn. Painethe leaves ina
mixture ofgreen and autumnal colours.
Wire into a spray.

pi

,
o

220

 he Bess Rose is a small wild rose. It is a

Bess Rose T very dainty variety ideal for use on
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.

.:
1or Make a Mexican ha t and roll out the base using a
• paintbrush. Place the small calyx cutter over the
top the node and cut the ColIyx.
2 Make a hook on a piece of26-gauge wire . Dip the
• hook in egg-white and thread through the cal yx,
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
 orget-me- nots with their cheery blue and
Forget.. F yellow faces are useful in sprays based on a
blue colour scheme.

me.. nots

Make som e buds by purring

1
• 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.

2 Thread the blossom onto a piece of 30- ga uge

• green wire which has been bent inro a hook a t
one end.
3 Roll out a little yellow paste and CUT a m iniature
• yellow blo ssom shape , in sert into the centre of
the blue forget-me, nor using tweezers and a little egg
white . Make a tin y hole in the centre using a cocktail
st ic k.

4.
Take a white stamen in a pair of tweezers. Place
the sta men into the cen tre 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
 uttercups with their bright, yellow flowers

Buttercups B give warmth to a spray and mix well with

most other wild flowers.

1 Mould a cone of gree n paste. Placeo nto a piece of

• 28-ga uge green wire which bas a lready been
hooked. a
Make cav ity using a ball roo Ias shown.
2. Remov e th e ball tool co leave a ho llowed o ut
cavi ty.

Roll out some green past e and cut a sma ll cal yx.
Lift up on the mod ell ing rool. 4. The finished ca lyx wit 1 its top piece
stic k this with egg wh ite.
111 position.

5 Roll out some dark, yellow paste and cut out five
• petals using an apple blossom cutter. 6. Ve in each petal and frill th e edges gently with a
coc kta il st ick.

223

 7 Using a littl e egg white. stick

• the petals 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 th e centre. When dry,
dust with a mixture of dark yellow
petal dust and gold lustre to give a
golden sheen to the petals.

224

LESSON 18

Making Flowers

from

Fresh Samples

 ugar flowers may be made from fresh

Using Fresh S specimens by using a wide variety of
techniques.

Flower Samples
To begin with, it is important to use
simply constructed flowers. Pick fresh R
flowers from the garden after the dew
has been dried by the mom ing sun or, ~
if buying from the flori st, check on 1i
seasona 1 a va i IabiIity as some varieties s:
may need ordering in advance. Many w,
florists will give you the odd head or m
leaf 1s it often seems unnecessary to· w,
bu y a whole bunch of flowers when is;
you on Iy wan t one sample. 01

]
fl.
fh

w:
se
tn
th
in
gl
so
An assortrnen t of arch id forrners pc
that can be made from empty drink p<l
tins eu rring out the desi red shape kr
using [loristrv scissors. The ones or
shown are, at the back, an unwired sh
Cymbidium orchid, front left, the A
Phalonopis (moth) orchid and the th
front right, the Dendrobium .
ell
th
th

se
c
dr
as
an
frt
or

1
......
to
ri~
liS
W
ye

226
Dendrobium
Orchid
Thisorchid.alsoknown as the
Sing-apore orchid, comes in the off­
white asshownand shadesof pink and
mauve. It isoneof the many flowers(or
which there isno curter available. but it
is possible to reproduce th isand many
otherflowers without cutters.

A spray of fresh De ndrobiurn

1 • orchids. Pick off a suitable
flower to usc as a mode I for the paste
Hower.

Usinga modelling kn i (e
2• carctully disec: the flower, you
will notice that the Dendrobium has
seven sections. Start working with
thecolumn, this is the small piece
thatcomesinto the th roar; m~ ld one
inpasteusing yourfresh one as a
guide. To make the throat, roll out
SOlOI: paste and, using the fresh throat
petal a, a tempiate, place on to the
paste and Cllt round with a modelling
knife. Removethe petal and support
onfoam to achieve the same soft
shape asthe fresh petal .
Alternatively, lay on top of the fresh
throat to set.
The two sepalsor wing petals are
cur from rolled sugarpasre again using
thefresh petalsas templates, veining
thecentre of each.
I
The main part is t be back three
sepals whichare made in one piece.
Cutout the shape from an empty
drink tin and bend in the same shape
asthefresh part. Rollout the paste
andcur this piece again using the
freshpetal asa template, then place
ona former to dry.

This final picture shows the

3 • fresh and sugar orch ids
together, the sugarone is 011 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
 Alstromeria
Alstrorneria or Peruvian lily comes in
many colours including red. yellow and
cream as well as the pink shown. It is
made using the indi vidual Iy wired petal
principle used for orchids and foliage in
Lesson 16.

Here the fresh spray of

1
• alstrorneria with its delicate
centre detai I. 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 pa in tbrush, retain ing a
th icker area towards the cen tre at one
end. Place the petal On the paste so
that the base covers the thi cker part
and, using a modelling knife, cut
CI
round the petal. Vein using the back
IT
of the real petal as the veiner and then
I
place the piece of hooked 30-gauge
wire into the thicker part. Place on
sponge and mark the two curved veins
and then tum over so the veins are on
the back but in re Ilef on 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 of a piece of wire, cutting
in half lengthways to get a feathery
top. Tape the grey tipped stamen
onto the wire as shown . Dry along
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
2
rem
to make sure they stay in posi tion , sam

228
RubremLily
This largefragrant Iilywith its dark
dense colouring looksattractive on a
weddingcake and creates a very
dramatic effect.

This picture shows the spray of

1• 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 tive summe r garden flower

]
comes in sha des of blue and mauve
making it an easy co lour to use with
pink , creams and lemons. ]

1
The fresh Scabious head with

• its soft frilly pe tals.

2
Remo ve a fresh pe tal and

• un crum ple it, lay on a piec e of

th in card an d draw ro und it , th en cut
out to make a ca rd template. Roll out
same wh ite pas te , cut th e petal sha pe.
1
Usi ng a mod ell ing knife , cut the edge
with t in y slits like those mad e for a
sp ray ca rnation, then frill the edge , as
shown. Dus t in a blue or mauve sha de
stra igh t awa y. A fter pleating the
petal, as shown , place o n to a cut out
I gre en daisy shape. Su pport with foam
rubber sticking with egg white in th e
centre. continue all the way a round ,
then make thin scrips of white roll ed
paste , frill one end and th en ruche up
like fren ch pleat s. These sit inside the
main petals. The stame ns used were
green matt-headed ones with tiny
pieces of blue cotton placed in
between them.

3 The suga r 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
Scabious.
5
230
iiiiiiiiiiiii
d.. _
 resh flowers were commonly used before
Fresh F sugar flowers became popular. Most royal
iced wedding cakes would have a bride and
groom or a silver vase filled with fresh flowers

Flowers as a top feature decoration and these are still

frequently requested.

C ut off the head about 2.Scm (I in ) down the

1. Choose a fresh spray of carnat ions with n ice
strong stems and a good shape. 2 • stem behind the back of t he flower; if using buds
or slightly open flowers, cut as for full blooms.

Bend the wire over to double up. Be careful to

3.
Tak jog a piece of anealed floristry wire, pierce the
back of the calyx by pushing through the wire. 4 • support the stem to stop the wire breaking the
back of the cal yx.

The f n ished wired spray carnation with a flexible

5. Takinga piece of lcm (1/2in) wide floristry tape,
tape down t he wire starring on the ca lyx. 6 • wire stem.

231
Ivy Leaf he principle shown here for wiring an
T leaf may be applied to any type of foliage.
ivy

a
~
A sprig o ( iv y iscur off the lea ves , leave a little 1
1. piece of the stem at the base of the leaf. 2.
T ake a p ie ee of fine rose wire and thread through
the leaf as if using a needl e and cotton. 3

3.
Wrap the smaller piece of wire around the stem
and the first piece of wire . 4.
Using a piece of 1ern ( lfzin) wide floristry tape,
rape down th e wire to f nish off the leaf.

Freesia
Cut off the separate freesia bloomswith
a pa ir of flor isrry scissors. Thre-ad a piece
of medium-gauge wire through the
flower, bend the two pieces down and
twist the smaller piece around the
"
b
longerone. Tape down the flowerand dl
wire starting where the firstwire was c
inserted. b
0:
Sf
hi
w
0:
111

232

Fresh Flower Bouquets,

Sprays and Posies

Th i~ posy issu I table for a Iarge

1 • cake or asa spray (or a
bridesmaid. Wire into a posyin the
same principle as (he wired sugar posy
in page236. 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.

The two tier wedding cake

2 • shown here has a medium-sized
bridal bouquet as a feature
decoranon. Ifa wedding is being done
ona budget, a specially designedbride's
bouquet couldbe put into the posy pick
onthecakeas the main decoration as
she-arrives at the reception. The
bouquet features pale peach roses,
while freesia, Dendrobium (Singapore}
orchids, gypsophila, asparagus (em and
miniature daisies.

233

Silk and
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.
The most realistic, but the most have to be replaced with thinner 26 to
expensi ve , arc the silk flowe rs, 30-gauge wi re wh ich iswrapped
although man yof the man -made round a piece of existing stem to make
fabric polyester type are now made to them more Ilexib le. You can even
a high standard. Fabric flowers are co lour fabric flowers; use wh ite
also usefuI to use to perfect an flowers from which delicate shades
arrangement that is to be made in can be achieved with a firm-haired
sugarflowers as these are fragile to paintbrush and petal dust. S ilk and
work with . Most fabric and silk fabric flowers can also be used on
flowers come on thick wire stems that weddi ng cakes instead of sugar flowers
particularly when time or money is
short.

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 Ii lied with dry floristTy
foam or sugarpasre, The flowers used
in the arrangement me lemon and
white carnation s, blossoms, gvpsophila
and foliage.
The larger silver vase IS filled with
an arrangement of pink and wlure
fiJchsias. carnations and foliage.

Bridal Bouquet

This large bridal bouquet is

1 • 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.

234

 LESSON 19

Flower

Sprays

& Corsages

Sprays& T he Victorian posy always has a rose as a

central focal point with rings of flowers and
foliage working out, or a more natural
arrangement with five small leg sprays tapered

Posies out, with the cavities filled with ribbons and

more pulled blossoms.

TIle flowers and foliage needed to

produce the following posy and straight
spray are: three spra y carnations,
sixteen five petal basic pulled blossoms,
nine budsand five medium ivy leaves.

1 Using floristrv tape cut in half,

• star t by taping three blossoms
together all on the lev el.

Then make one pin k and one

2 • 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 stage .

3
Now place another blossom

• beh ind each bud, sh aping into

a shgh tcurve . It is important not to
place the flowers too low. If you do ,
you wi II end up wi rh a cooe shape.
The curve on a basin bottom is
approximately the angle you should
be working towards. N ote the
dominant triangle shape.
 •

Take t he spray carna t ions and

4 • place ant' in each of the gap s
between the blossoms; tape tightly.
Mak e two pink and two green
medium-sized double figure -of-eight
loop s and position alternately grew
and pink around the edge. The shape
now cha nges from a triangle
format ion to a C i rcular.

5 Place the remaining blossoms

• and bud s at random around the

posy where needed.

T o fi n ish the basic assernb Iy,

6 • 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
 1
toll
Insert wires and tape through cap:
7. 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

9 Conti n ue tap ing righ t off rhe

• edge of the w j res, t hen cut off
1
pO;
the excess tape leaving the ov erlap on arc
the end of the wires. att

238
 Fold the excess flap over to
10 • cover all the ends so as not
to leave sharp wires exposed, then
rape back up the handle until you run
o ut of tape.

11. The fini shed posy.

Here is the same posy

12 • shown in a tiny floristry
posy holder, it has been carefu II y cu t
around the edge co produce an
attractive scallop.

239

 he flowers shown are

InvertedV T those needed for both the

inverted V and reverse S curve
sprays. They consist of five

Sprays spray carnations, seven ivy

leaves, twelve buds and about
twenty-eight blossoms.

Begin by mak i ng the two legs of

1• the spray which are both
identical. First of all position a pink
swallow bow and then two buds
follow ed by five blossoms and a
double green loop.

aI
ol
fo

Continue with buds and

2
• flowers and place a carnation
cenrrallv, finish with pink double
figure-of-eight bow. Repeat CO make
the second leg.

Make a posy as previously (

3 • described using the remaining
flowers, a double bow and three
HI
'-­ ~ figure-of-eight loops. pi
us
240
 The four ivy leaves are

4
• 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 leg and bind

6 • all wires fmuly together. The
finished inverted V spray would be
placed in a posy spray pick, if being
used on a cake.

241
 orsages nowadays are used mainly as a
Corsage C decoration on gannents for weddings, but
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 piec es from the directions given on The two small sepals sit with the i r curved sides ]
1 • Page 203. Stan off by taping the back cupped
sepal to the throat as shown,
2 • upwards either side of the cupped back sepal .
PIace the two large r curved peta Is a t the bottom of the
flower as shown . Make a small sausage in yellow paste
and stick into the throat and vein in half.

3 Dust some yellow pe raI dust into the cen rre of the
• throat. Mix a Iittle plum petal dust with some
clear spirit and paint some fine feathery lines around the
4. Us i ng a soft pin k peta I dust . bru sh around the
throat and at the base of the sepals. 2
COJ
frilled part as shown. Finish off the painting with some '
spots on the throat.

6• 3
5.
bow.
Take one C ymbid ium orchid, one piece of
gypsophila, two leaves, a yellow bow, plus a tulle
Tape roger her as shown. Th
sho
flm
242
Spray Carnation
Corsage

You will need two carnations,

1
• on e bud, two ivy leaves , one
piece of sword fern and a double
figure-of-elgnt bow.

2
• Start off with the swo rd
then the carnat ions and
fern,

continue with the o the r piece s.

The final stage is the

3 • positioning of th e ribbon bow .
This can be in a contrast colour, as
shown , or the same sh ade as the
flowers,

243

 Blackberry Box ]
A sprayof blackberriesmakesan
alternative to a sprayof flowers on a
chocolate box. This is ideal for <I
Father's day or Mum's birthday gift. 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
de
Gift Box
A lovely idea is to make a smallsprdyof
flowers to beattached to a srna11 cake
box used when people are unable to
attend a wedding or celebration. It has
been tied with ::I 3mm (1/8 in) powder
blue ribbon and then has a smallspray
of Bess rose, forge t-me-nets and ivy
leaves. The silver writ ing adds the
finishing touch to the box.

Knife Spray
When decora t ing a wedding cake, it isa
lovely tou ch to make a knife spray to
match. Make a small straight sprayin
flowers to match those used on the
cake. Take a piece of 30-gauge
covered wire and thread through the
spray twisting at the back of the spray.
Bring the wires around 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
off excess wire and fold back towards
the spray.
2

244

Bridal Bouquet

This largespray, basedon a small bridal

bouquet, iswired in the same wayin
fresh or silk flowers. This sizespray is
suitable asshown for two or th ree Tier
weddingcakes and can be made up co
twoor three times thi s size ifrequired.
There is a lor of in irial preparation as
you wilI need several hours to make the
flowers. This sprav con ta ins
Cymbidium orchids, roses, pulled
blossoms. ivy and V<lTlOUS foliage and
gypsophi lasbut at her flowers could be
used. ifdesired. Usually chis type of spray
doesnot include ribbons.

Make the flowers shown. The

1
• main ones being five
Cymbidium orchids, four roses, two
rose buds. You will need several sprays
of gvpsophilas, two to th ree dozen
pulled blossoms and an assortment of
variegated ivyand other foliage.

STa rt off with a sma II ivy leaf,

2 • then add the first buds. The
two rose buds are progressively
open i ng up as you work along the
spray.

245

I
 c
ir
w
sl
()'

f(

it
P
sl

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
• zag effect going (rom one side to the other. Leave
aside <It this stage and go on to the separate posy.
c:
o
u
n

]
rc
w
pi

5 Now you need to wire a separate posy for rhe top .

• Start off as shown wi t h the rernai n i ng two roses
and another orchid.
6. Finish offby using the last orchid and all of the
remaining flowers and foliage.

]
IX
tr:
th
se
pi

7 Tape the posy to the first part of the spra v, rna ke

• sure to tape these firmly together using full width
8. The finished bouquet.
n(
th
w
tlorisrry tape. in
246
 T his type ofspra I' and most of

9
• 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.

Continue pushing the vial

10 • 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 srraightin to the cake. For a srna 1I
spray, the top from a fibre tip pen can
be used in place of a posy pick .

The top tier of the wedding

11 • 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 refu II I' pushed back
into shape.

247

 aving mastered the art of flower­

Wired Sprays H making, it is time to go on to combine

them in the form of sprays and
arrangements.

norhmg worse than a spray with all the

llowersout of proport ion and when
co rnbm ing 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. alrerna live Iy. make <Illof them 10
halfseale. Pu lied and fl nger flowers arc
useful as you make rhese to whate ver
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.
I f you are new to wi red flower
arranging, start off with fabric flowers as
you can bend these and squash them
withou t breaking them. Once the basic
shape has been mastered you can then
duplicate It \Ising sugar 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), the n tape a piece
of 26-gauge wire to this and bind with
tlori srry tape. Fabric flowerscan be
There are a great variety of wired [lo wers in the dark co lours rather th an repeatedly used in the same or different
spraysand corsages in m an y different th e large foca l flowe rs as r jns would sprays.
styles to choose (rom . Those covered make the ov erall effect too dens e . Once you have made you r chosen
in th is ch apter inc lude th e basic types Gen erall y a flo rist would use not more flowers, dust to the required shade and
that are suitable to use on ce leb ra t io n than rwo or at the most, three main bind with fl orist!), tape. TIw Nile green
and wedd ing cakes. The prm cip le 1 ~ co loursso bear thi s in mind too . A colour is suitable for most sprays, but
not un like tha t used by a llorist when flower arran gement nearly always dark green and wh ite are also used from
producing bridal bouquets , posies and includes some foliage as a finish ing time to nm e, Depending on the sizeof
corsages fora wedding in fresh touch and thi s is equa lly true for sugar the sprayand flowers, cut the tape in
flowers. The o n ly differen ce is th at spra ys. Ribbons ma y be an importan t ha lfor quarters lengthwise. If you have
fresh flowers a re easier to arra nge addi t io n and agai n can dramat ica lly made <I mass of fl owersand ha ve t\VOor
because you can und o the spray \f not cha nge the fin ished effect. Choose three spravs to make for a wedding
happy with it, but sugar flowers do n ot neutral coloured ribbons <IS these cake, split the flowers up before
like th at sort o f trea t me n t \IS the blen d best w ith th e flowers. If using beginning the firstspray so that all the
petalsand cal yxes get broken. several colours together always place sprayswill be equal and you will not run
Generallysugar flowers have ro be th em togethe r off the ca ke and see if out of fl owers.
rreared with loving ca re, and sho uld they ton e in with eac h othe r before If new to sugar flower arranging, it is
not be packed too densely o r th ey arran gin g. advisable to work on a sheet offoam
crac k and break. Once th e cake is then you can la y the spray down in
covered or even before it is baked, it is Shape between stagesor If you drop anything
best to have a visual idea o f what type The shape of a spra y of flowe rs ca n it will nor break. Wh en taping, tape
of spray you are goin g to put on th e drama tica lly change t he ove rall firmly, if not the flowers will move
ca ke. The most importan t elemen ts appea rance of th e cake, but wit h about and you wi11 have problems
are co lour, sha pe and proportion . practice you will be able to look at a crea ring and m ain ta i n i ng a shape.
cake and assess th e best type of spt ay
Colour to use. Ribbons
W hen IlClwers are pUI toge the r the Ribbon loops play an important part in
o verall co lour scheme tend s to Proportion making posies and sprays. For further
become more intense. When usm g The proportion of the fl owers is a very information on making loops and taiIs,
dark co lours. try to make the smaller important point to consider. There is see lesson on Ribbons in Book I.

248
 LESSON 20

Competitions &

Commissions

Cake
Commissions
Portions from a
Cake
lf t he cake iscommissioned you wilI
have to fllld out the number for the
wedding breakfast, the even ing
reception C1 flJ any additional pieces for
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 o n ,
For further inforrnauon on portions
froma cake, see lesson on Designing a
Ca ke in Book One of this series.

Pricing Cakes
How much do I charge! T h is question
causes so many problems and it is
a lwa ys a difficult one to an swe r because
many factors have ro be taken into
account when pricing a cake.
There are two main typesof cake
produced: the commercial cake - this
would be the type of cake your local
baker produces, He usuallyworks out
his expenses on the ingredi ents for the
cake itself, then adds the labour costs
and his mark up. 111is is fairly easv rodo
as he has all his Invoices I n front of him,
he knows how much everything costs,
how much 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, friend or
f'Hnily. A commercialcakeshould 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 day from start
to finish. Pricing becomes even more
difficult when friendsor fami lyare
involved. Often the cake is given as a
gift but when you workOut the cost of
the ingredien ts alone you Will find you
are being more than generous. Listed
below aresome difterent W;l yS of
srructuring your prices.
Work out the total cost of 311 the
ingredients and add rwo o r three times
that arnoun t depend ingon the

250

.'

251

complexityof I he design and the hours
spent work i ngon the cake. The price
can be worked out per kilo or pound for
the basiccake coated and decorated
and then charge extra per spray of
flowersor for special features.
A lternatively, the cost i ng may be made
on aII t he ingredients, then work out an
hourly rate for labour, remember
shopping, washing-up and clearing-up
time, all these th i ngsadd up and shouId
be taken into co nsid era t ion .
Do not under-estimate yourself.
Many people fee I that they cann ot
charge a reasonable fee because they are
not professional. Today that does not
mean much, professional is only a term
for someone who has been to college
and works in industry full or pare-time.
Commission Form
When raking details for a cake commission it is ad visable to hav e 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,
Address;
Te lephone :
Date of wedd ing:
Viewing dat e:
Design rough s submi t ted by:
Coatings
Firushed ca ke:
Stand and knife ,
Delivery charge :
Deposit paid :
Balanc e due o n approval at viewin g:
Many people work from home and then be able to buysome new shapes
produce work of a very high sta ndar d. ma ybe a pers pex, spiral or S-srand.
When you give a quotati on for the price Make sure you ha ve your stand and
of a cake, cover yourselfby savi ng it is knife insured, and that your name is
only approximate. Wealileam from clearly marked on the base, Often they
our mistakes and often someone are put into the ki tchen at the end ofa
choosesa design from a book which you reception and il iseasyfor them to get
think is goin g to take about an hou r and lost in a busyhotel kitchen .
it ends up taking a whol e evening to do
and you must be sure that you do not
lose o ut. 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 affec t the final price.
Jt is nice to offerthe hire of a knife
and sta nd . Alth ough It is an initial
out lay, by charging a h ire fee you wiII
soon be able to recover your costs and
Sh ape of cake: Number of tie rs: S izes:
Cutting cak e yes/no
Base colour:
Se conda ry co lour: O ther themes in wedding
(e g. bows. birds, bu rrerfl ies er c .)
Board tvpe :
Swatches of bridal mat erial provided
yes/no
Flowers (type and col our) : Special rnsrrucuons
(eg . insc n pno ns, run our s.Iace work er c.)
Florist's nam e:
Address: Knife sprav yes/ no
Stand an d kn ifehire yes/no
Tel ephone :
252

 Competition
Cake
Entering competitions is a very dimensions and templates throughout Smooth down the surface of your
challenging, yet most satisfying the production of the cake. comingswirh a sharp knifeor sandpaper
aspect of cake decora tion and - except on the final (:0<11, when
sugarcrafr. Many hours can be spent Materials scratches wou Idbe visible. Try to cover
on an yone part of <1 cake, whether it Use good qua Iity ingredien ts to give the take-offmarkon the side of your
be the coating, Iinework, figure-work you a good quality ex hibit. ln the case royal iced cake with a linework panel or
or the lettering. To give yourself a of rovaI icing use a fine bridaI icing other parts of the side decoration.
good chance of winning, total (confectioner's) sugar. Strain the egg Use fine tubes when outlining'
ded ica tion to your work is req uired. white or reconst ituted albumen runout pieces or coilars to give a degree
Th iscan be very demand ing on your before mixing to remove any fine of delicacyto yourwork.
time, sodo ensure you are able to lumps or impurities wh ich could Ensure <1 good sheen on runout work
' " allocate sufficient to do jusnce to your affect coating. Sugarpaste cakes need by placing the units near a gentle heat
exhibit. It could be many weeks a good coating to win points, so use immediatelyafter flooding. Use an
before you see any reasonable work the paste recipe or produc t which you anglepoiselamp.
worth entering, but persevere and know works best for you. Keep a Unework isan important part of the
hopefu II yyou wiIIach ieve your aim. record of colours used for your various finishof yourcake and can mean a
materials in case you need to re­ considerableamount ofpoin ts towards
Understanding the Schedule match. Royal icing can be weighed yourfi naI result. Use No J and NoO
First of all check that you are eligible and a set number of drops of colour tubesalong with some workdone in

i to enter the class you wish to exhibit added, make a note of the rat io and
In. It may be a novice or open class, or use it again if necessary. Sugarpaste
NoOO. Forcurved linesa slightlysofter
consistencyof icing will create a better
it may be that you need to be a can also be colour matched bymixing flow. Ensuregoodjoins are made on
member of a part icular bod y or a strong shade of the eventual tim you lineworkand pipe an equaldistance
organisation. It is important to read require, a portion of th ismixture can fromthe adjacent line. As a rule (or
the specification very carefully and to then be weighed and mixed into a piping, the distance between lines
be aware of what the class is decided weight of white paste. For shouIdbe similarto the thickness of the
requesting in terms of size, cost, examp IeJOg ( I oz) of coloured paste tube youare usingat that particular
presen ta tion, and the accepted use of to I kg (Zlbs) of white sugarpaste. time.
edible or non-edible decorations.
Note also whether you need to use a Cake Dummies Packing and Exhibiting
reaIcake or ifcake du mm ies are Use the highest qua li ty cake dumm ies Once yourcake iscompleted, attach
allowed in the particular class you you can afford. A smooth yourstagingtickets to the cake board
wish to enter. unblem ished surface to start wi th wiII with a Iittle glue, do th isneatlyand
Remember to complete and return make coating and covering much keep the labels straight and clean. Place
the entry form with the entry fee if easier. I f you have to use a reaIcake for the cake carefully into a good strong
required. Check the date of the your exhibit, do ensure that you cake box with a secure lid. Many
competition and the time of delivery achieve a good smooth coating of serious exhibitors ha ve wooden
for your exh ibtt; give vourse If exera marzipan on which to work with your carryingboxesmade with a foam
time on the actual day in case of icing or sugarpaste. Coat the ca ke coveredsliding basesection to make
delays or breakages. dummy and board separately 10 create positioningin the box easier, these
a good finish on both . The two can be carryingboxesshould also have a strong
Designing the Cake brought togerher when assernblyof a II handle with which to carry them.
Try to be as original as possible with the various parts of the cake Labe1yourexhibit box, especiallyif
your cake design I do somerh ing to commences. youhave more than one, making
attract the eye of the judges. stagingeasieron arrival at the
Numerous ideas can be gleaned from competition venue.
greeting cards and gift wrapping
paper, not only for the motif, figure or
Hints and Tips We11 beforeleavingfor the venue,
check that youhave the schedule for
animal, but also for ideas on lettering Forroyal icingcoating, add a fewdrops reference, and youradmission tickets.
styles and inscript ions. If you intend of cold water to the icingfor each coat. On arrival at the venue, don't
to use any templates for off-pieces, for Th iswiII soften the icingand heIp remove the cake (rom the box unti Iyou
example runout collars, it is better to achieve a smoother finish. The final have found out exactly where to place
measure your cake after the fina Icoa t coat shouIdbe verythin, working wi th vourexhibit. Then stage yourcake in
and then design your collar to fit considerable pressureon the side its allocatedspace, beingcareful not to
exactly. Otherwise, work to accurate scraperand straight edgefor the tOP damageother exhibits that mayalready
surface.
253
be on the table. Placethe cake in the
correct viewingposition, so that the
judges first look isthe one you want
them to see.
After the judging,whether or not
youare a winner, try to find the judges
of yourcake and discuss yourexhibit
with them. Mostof them will be quite
co-operativein this way. Bycalking to
the judges youcan make notes about
aspects of yourcakes that could be
improved,or altered. Do not 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 improve your
skills, knowledgeand ability.
The Wedge Cake
The wedge cake waspopularat one
timeand you mayget an occasional
requestto do a cake with a wedge. n is crumbsand give the cake a final coating schedule ifa wedgeisrequired.
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
collarcould not be used. It isbest to
decideon the basicdesignbefore
cutting the wedge as mostdesigns are
workedout uponsix, eight or rwelve
repeatingsegmentsand the wedge
would representone wholesection.
Work out a pattern so youknow the size should be sandwiched in between a
of the portion to be CuI. Find the centre
folded strip ofgreaseproof(waxed)
of the cake after rwo coats of icing using
paper. The papershould reach up to the
a compassor a circleof paper folded start of the marzipan and be long
into quarters, and then mark the edge enough to wrapround both sidesof the
of the cake in the two placesit is to bewedge. Once replacedinto the cake
cut. Usinga sharp knife and a rule, only the front of the ribbon shouIdbe
marka line from the centre dot to each showingand the papershould not be
of the outer linesthen hold the ruler Visible. Place the wedge back into the
verticallyup the side and mark the two cake and tie the ribbon in a bowwith
down lines. trailing fa ils, trim the end of the taiIs to
equa 1lengths and cut into an inverted
Cutting through the sugar and cake Vvshape. With the wedge In position
It isveryimportant to use a sawbladed the cake can be decorated. Use paper
knifeto cut the wedge. Use an even clips to dip the rolledup tailsonto the
sawingact ion to cut through the icing ribbon so they do not get in yourway
on the top then moveonto the side and when decorating the cake. TI1e bride
repeat the sawingaction holding the and groomcan then simply re leasethe
knifeverticallyagainst the cake. Once pipmg and remove the customary
the icing has been sawn through use a wedge. Some competitions. especially
fine bladedsharp knifeand cut through when a percentageof points are given
the marzipanand the cake usinga
gentle sawingaction makingsure that
forthe cake itself, willaskfora wedge
cake. TI1is makesit easierforthe judges
the knife isstraight. Take care not to to remove the wedge for inspection and
cut into the cake board. Remove any tasting. It willalways state in the
of icing. Once this final coat isdryyou
on ly need to sawthrough the icing to
release the wedge. Specialist Work
Ifyouare entering modellingor flower
Tying with ribbon workfora competition it isadvisable
Take a pieceofsatin ribbon 3-Scm to invest in a display case. Covering an
(['Iz-lin) and 70-100cm(24-36in) exhibit helpsprotect it frombeing
long. This Can either be in white or in a touched and consequentlydamaged, it
shade to match or con trastwith the <I lsoprotects it from dust. A smalldish
coating of the cake. In order to prevent ofsilicagel insidethe case helps to keep
the ribbon beingstained by the cake it the atmosphere around the exhibit
moisturefree.
254
 Competition Schedule

111e following isan Illustration of the

typeof schedule youmight be asked to
follow for a competition. Th e 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 exceeding 30cm (12in). Th e
overalldepth of the finishedexh i bit
, must not exceed I Oem (4in) . The cake
-f to be coated wi rh sugarpasreand
I decorative work may include royal
ici ng, sugarpaste, pastillageor mou Ided
flowers. The se may be wiredand have
artificialstamens. Ribbons and tulle
may be used.

255

Interpretation IOcm (4in), includingthe board, a Forher entry, Cynthia Vennopted (or
A Schedule likethis placedveryfew conventional floral sprayon top would 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 board has to be wouldhave been disqualified. The the board with an arrangement of
careful]ymeasured alongwith the cake. options werea very low arrangement of mouldedroses, surroundedby lace
As the overalldepth must not exceed flowers or a completely flatdecoration. pieces.

256