Cake Magazine 5

AMERICAN
Decorating
ONE-TIER
Wonders
AN AMAZING ASSORTMENT
of small cake
design ideas
Be Bold!
EXPAND YOUR PALETTE
with hand-painting tips from experts
Akiko White AND
Natasha Collins
EXCLUSIVE Q&A
with cake designer
Mich Turner
4P lus
TUTORIALS
6 BONUS 2 NEW
TUTORIALS CAKE RECIPES JULY | AUG 2015 • ISSUE 397
Create your story of
TASTE and COLOR
www.ChefRubber.com
CONTENT
FEATURES
AMERICAN CAKE DECORATING JULY | AUGUST 2015 ISSUE 397
07
SHOWCASE:
ONE-TIER
WONDERS
While life-sized sculpted cakes
and towering tiers may garner
immediate attention, many
occasions call for a smaller,
but no less detailed design.
58
TUTORIAL:
WHITE COLLAR DESIGN
An elegant collar and windowed side panels
are a beautiful way to build piping skills, and offer
the opportunity for custom embellishments.
By Dawn Parrott, CWPC
48 52
TUTORIAL: TUTORIAL:
SUMMER NIRVANA MIDNIGHT MOLES
Royal icing collars are a graceful addition A mobile home for moles, this fanciful
to this single-tier cake featuring a “log car” is on a mysterious journey.
hummingbird sipping from a hibiscus By Kelly Lance
blossom. By Julia Cullen, CMSA
ON THE COVER
AMERICAN
Decorating
ONE-TIER
NATASHA COLLINS
Wonders Nevie-Pie Cakes
Berkhamsted, Hertfordshire, UK
AN AMAZING ASSORTMENT
of small cake
design ideas
Be Bold!
EXPAND YOUR PALETTE
This Mimosa Blossom cake is from the recently released 62
with hand-painting tips from experts
book by cake painting expert Natasha Collins and
Akiko White AND
Natasha Collins
featured in this issue’s By the Book column. See more TUTORIAL:
EXCLUSIVE Q&A
with cake designer
Mich Turner starting on page 38 and check out more of Collins’ PRIDE OF THE VIKINGS
work at NeviePieCakes.com. The very sight of a Viking dragon ship could
4P lus
TUTORIALS
strike fear in the hearts of many during the
6 BONUS 2 NEW
Image used with permission from The Painted Cake by Natasha
Viking era. This thrilling rendition is easy to
TUTORIALS CAKE RECIPES JULY | AUG 2015 • ISSUE 397
Collins (Murdoch Books). | Photography: Nathan Pask.

accomplish. By Titia McLuckie
JULY | AUGUST 2015 americancakedecorating.com 1

IN EVERY ISSUE
06 28
SHARE YOUR LOVE BUSINESS MINDED
Dessert professionals provide a glimpse Finding Your Self-Worth As A Cake Artist:
into their current passions. When a hobby transforms into a business,
it’s sometimes difficult to assign a value to the
time and skills you once donated or provided
“at cost.” By Jay Qualls
20
IN MY
KITCHEN
Akiko White and
42
her art. A MATTER OF TASTE
Seductive Beauty: The delicate jasmine
flower packs an intoxicating combination of
fragrance and flavor into each tiny blossom,
enticing even the most discriminating palate.
By Derek Aimonetto
46
WORK STATION
Products for baking, decorating and presentation.
30
COLOR STORY
22 Make A Statement: Step out of the neutral
color safety zone to explore a dazzling rainbow
THE MADELEINE of bold, brilliant hues. By Junita Bognanni
QUESTIONNAIRE
Avalon Yarnes
34
SWEET SCIENCE
In the Thick of Things: While the chemistry
of gelling agents can be quite involved,
understanding these ingredients makes for
infinitely better results in both baking and cake
decoration. By Joseph Cumm
24 38
BY THE BOOK
PROFILE Encouraging Artistic License: Natasha Collins,
The Science of Spectacular: Mich Turner, owner of boutique cake-making company
MBE, is a superstar in the U.K.—a cake
68
Nevie Pie Cakes, is one of the leading experts
designer to royalty and celebrities, a regular in the world of hand-painted
presence on television, a respected author cakes. Her new book, The
and a highly sought-after instructor. Her Painted Cake, demonstrates LAST BITE
meticulous approach to everything from how even absolute beginners Strawberry Chiffon Cake: Wonderfully light,
recipe development to business expansion can develop confidence in a classic chiffon cake is the perfect foil for the
has helped ensure her success. their painting skills. sweetest of summer strawberries. A recipe from
By Susan Schultz By Linda Cloutier Mich Turner’s Cake School by Mich Turner, MBE.
2 americancakedecorating.com JULY | AUGUST 2015

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AMERICAN
Decorating
Editorial Director Susan Schultz
Art Director Brooke Hennigs
as we proudly present Copy Editor Amy Goetzman
Chef Nicholas Lodge Appointed Contributing Writers Derek Aimonetto, Junita Bognanni, Linda Cloutier,
Julia Cullen, Joseph Cumm, Tatiana Ho, Kelly Lance,
Brand Ambassador for Renshaw! Contributing Artists
Titia McLuckie, Dawn Parrott, Jay Qualls, Akiko White
Cinzia D’Adamo, Sandra Daggett, Luís Gasper,
and Chefs Robert Goshe, Ceri DD Griffiths, Toby Griffiths,
Nadia Flecha Guazo, Calli Hopper, Jessie Jones,
Tatiana Kovalenko, Dany Lind, Mich Turner,
Erin Schwartz, Sharon Spradley, Georgia Suter,
Catarina Taborda, Avalon Yarnes, Hazel Wong,
Tony Wright, Sylvia Yu
Special Thanks Amber Adamson, Natasha Collins, Nisha Fernando,
“I love the taste, workability, Verity Holliday, Joëlle Mahoney
and value of the Renshaw
President/CEO Grace McNamara
brand of ready-to-roll
fondants and gumpaste...” Associate Publisher Karen Griffiths
Editorial Advisory Board Michelle Bommarito, Prof’l Chef/ Instructor
Chef Paul, Chef Rubber
John Kraus, Patisserie 46
Beatrice Schneider, Chicago School of Molding
Marina Sousa, Just Cake
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Marian Franza, Marian Franza Tortas
Decorades Artesanales
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EDITORIAL
SOCIAL
LIST Sweet
SUMMER
Facebook: AmericanCakeDecorating
Twitter: CakeDecMagazine
Pinterest: acdpins
TREATS
This issue exudes summertime. Reading
through, I can almost taste and smell
I first came across
Kamran Siddiqi through
the wonderful projects in this magazine.
Food & Wine and I’m Hibiscus flowers, jasmine, butterflies
amazed at what this and hummingbirds fill the pages and I
22-year-old has already
achieved—check out hope they inspire you to create your own
his book, Hand Made favorite summer fantasy. There are so
Baking. I’m crushing on
this Strawberry Pavlova!
many great designs in this issue. What’s your favorite? I’d love to know:
email your pick to contact@americancakedecorating.com.
facebook.com/
TheSophisticatedGourmet Even better, make it and send us a photo.
As someone who is passionate about cakes and baking, you’re already
very familiar with the thrill of creativity. But a downside is that sometimes
creative people love what they do so much they feel almost embarrassed
to charge for their products and services. This is why I love the advice Jay
Come summer, I’m Qualls gives on page 28, encouraging cake artists to value their work. I
always looking for light completely agree with his assessment—you should be getting a 30-40%
desserts, so I’m working
my way through almost profit margin for your cake creations.
every recipe on Loretta
Millar’s Frozen Treats
Now let's turn to summer! Living in Minnesota makes us a little crazy—
Pinterest page. This when the weather warms, we rush outside, because it’s finally time to
champagne and lemon grill, swim, walk, ride—and yes, bake. This is the time of year when I love
sorbet “float” with mint
was a huge hit at a to make galettes from freshly picked summer fruit. Plum is one of my
girlfriend brunch. favorites but rhubarb, strawberry and apricot are also wonderful.
pinterest.com/ Jacques Pépin’s recipe for plum galette is to die for!
mom1315/frozen-treats/
What sweet treats will you be creating during the warm summer months?
I’d love to see your ideas—please share them with us on our Facebook page.
Enjoy summer!
There’s a fun post on
PopSugar about cakes
Grace McNamara, Publisher
that can stand up to
summer weddings.
http://bit.ly/1Px84EI
RECIPE
Here’s that wonderful Jacques Pépin galette recipe. Delicious!

SHARE YOUR LOVE
THE THAT DRIVE

inspirations
ACD READERS TO CREATE.
HAZEL WONG
Hazel Wong Cake Design
Singapore
Based in Singapore, Hazel Wong’s
unique creations are often inspired
by her extensive experience in
the TV and movie industry.
She often uses bold colors and
incorporates abstract art elements.
Her works have been featured in
Cake Masters, Cake Design France,
Australia’s CAKE!, DIY Weddings
and Spain’s Pasteles de ensueño,
and she’s received numerous
online accolades.
Weblink Facebook.com/HazelWongCakeDesign
“One of my first ‘gravity-defying’ cakes, this piece

reminds me of my perseverance, determination and
the love I have for learning. Every day we wake up, we
have another chance to make something better, try
something new and continue pursuing our dreams.
We only live once, so make it worth it.”
JESSIE JONES
Jonesin’ For Cake
London, ON, Canada
A graduate of the Culinary
Management program of Fanshawe
College in London, ON, Canada,
Jessie Jones fused her love of visual
arts with her passion for food when
she founded Jonesin’ for Cake,
a fine art cake company, in 2013.
Along with being a cake artist,
Credit: Rayeo Photography Jessie also performs and records
“I love having abstract elements on all the cakes I with the folk-rock band The Bird
make. This cake was inspired by a painting I came Stone Revival. These two artistic endeavors keep Jessie
across in a magazine. I recreated the painting on the focused on her pursuit of happiness.
middle and the bottom tier, while the simple top tier
is enhanced by an ebullient sugar peony.” Weblink Facebook.com/JonesinForCake

SHOWCASE
ONE-TIER
Wonders
While life-sized sculpted cakes
and towering tiers may garner
immediate attention, many
occasions call for a smaller,
but no less detailed design.
GEORGIA SUTER
Puckycakes Academy
Girona, Spain
Lanterns play an important role in the Buddhist Festival
of Vesak, and for the recent cake collaboration based on
this holiday, Georgia Suter changed the usual palette
of reds, oranges and yellows to blues. “The cake speaks
about connections and the circle of life,” she explained.
“The woman, who is Mother Nature, is merging into the
sky. It is a never-ending sequence of birth, childhood,
adolescence, adulthood, old age, death and rebirth.”
TOBY GRIFFITHS
Sublime Cakes
Tilford, Surrey, UK
For his first competition, Toby Griffiths only gave himself
a week to design a complete cake. “I know that this was
foolish—it takes a long time to design a cake, decide on the
proper arrangement of the panels, drawings underneath the
panels, piping—what and where to pipe—and the colors.
But I had an idea for a cake based on the famous Bibendum
Building in London and though it was a quick decision, I
knew it would be fun. This is my first fully designed panelled
royal icing cake and I was very fortunate to have the work of
Thibaud Herem to look at. This saved me time, simplified
my design and made it easy to pipe over his drawings.”

SHARON SPRADLEY
See details from this design via the digital edition.
Curiaussiety Cake Studios | Tampa, Fl
“My piece for the Sugar Myths & Fantasies collaboration was a timid little gargoyle who was too shy to ask his favorite
‘goyle’ out,” said Sharon Spradley. “So he sits on the same tree stump day after day, picking new flowers each day just
in the hopes that that particular day she might just come along and he will have the courage to ask her out.”
CALLI HOPPER See details and other photos from
Callicious Cakes | Staffordshire, UK this cake via the digital edition.
This cherry blossom fairy design was part of the Sugar Myths & Fantasies collaboration that debuted in May. The cherry blossoms
and fairy are both made of gumpaste dusted with edible color, while the tree trunk is a dummy, covered in fondant and airbrushed.
See this baby dragon discover the
power (and the inconvenience) of fire
in a short video from Erin Schwartz.
ERIN SCHWARTZ
Stacked | Manassas, VA
“How are we going to eat cake if I can’t
blow out the candle?” That’s the problem
worrying a baby dragon in this fire-breathing
(yes, really!) design created for the Sugar
Myths & Fantasies collaboration.
TATIANA KOVALENKO
Skazka Cakes, LLC
Ridgefield, NJ
Winner of first place in sculpted design and best overall
in the professional category at the 2014 National Capital
Area Cake Show, this design was inspired by the famous
Russian fairy tale, “The Humpbacked Horse,” by Pyotr
Yershov, sometimes known in English as “The Magic
Horse.” In the story, the whale/horse had swallowed
too many ships, and was punished by having to carry an
entire city on its back. “Even though this monster whale
is not the main character in this tale, it is definitely one of
the most vivid, memorable and well-known characters in
Russian folklore,” said Tatiana Kovalenko, who combined
sculpting, carving, molding, piping, airbrushing, painting
and more to create this detailed design.
Photography: Stringer Photography

See details from this design
via the digital edition.
SYLVIA YU
Plano, TX
“I always admired the delicate looks of
English-style piping, but seldom have
the chance to do it,” said Sylvia Yu. In
January 2014, she attended Kathleen
Lange’s Lambeth Boot Camp. She
put her lessons to good use with this
Lambeth-inspired design for the 2014
That Takes the Cake show. “Since the
show was held in February, I designed
the cake with lots of hearts,” she added.
Photography: Adrian Williams
TATIANA HO
Delicia Designs
Modiin, Israel
“This is my solution to clients who
request cupcakes but with the look
of a decorated sheet cake,” said
Tatiana Ho. “It’s also an alternative to
buttercream pull-apart cupcakes, as
with this approach you can have a set of
fondant-decorated cupcakes presented
with a single image or design of your
choice.” She created the framed
painting of the Eiffel Tower with tulips
for a Parisian-styled dessert table and
it was presented along with macarons
and cake pops for a birthday brunch.
Tatiana shared her how-to

for this cupcake plaque. It’s
available online via ACD+ at
AmericanCakeDecorating.com

TONY WRIGHT
Cakes by Tony | Brooklyn, NY
“I’m very influenced by traditional British royal icing techniques and wanted to
create a cake that was true to those methods,” explained Tony Wright. “I also
wanted to pay homage to my teacher, Eddie Spence, which is why I included a
pressure-piped figure as the centerpiece. The inspiration for the center plaque
was an Art Nouveau pendant designed by Eugène Grasset.”
See details from this cake
via the digital edition.
Photography: Stringer Photography (below), Scott Nyerges (right)

SANDRA DAGGETT
See details from these design via the digital edition.
Northwest Cakes | Oak Harbor, WA
“The look I was going for on the top of the pink cake was a fountain filled with roses,” said Sandra Daggert, “but it turned
out looking more like a finial!” The teardrop cushions are one of her favorite designs, but the lattice was something she’d
only tried once before entering this cake at the 2014 National Capitol Area Cake Show.
She designed another Lambeth-style cake for the 2015 Washington State Sugar Artists show. “My husband named it
‘Aunt Bee’s Funeral Hat,’” she said. “I wanted to challenge myself by doing a cake with a black background with white icing
because it would be harder to hide any mistakes against the darker color. I went with a more traditional Lambeth approach
including using all toothpick roses, which are challenging to me. At first I wasn't sure I wanted to use them, but as I started
putting them on, the cake came to life.”

See details from both designs on
this page via the digital edition.
CINZIA D'ADAMO
Rome, Italy
Lanterns play an important role in the Buddhist Festival of Vesak,
and for the recent cake collaboration based on this holiday,
Cinzia D’Adamo designed a golden lantern radiating rings of red
and pale gold as metaphors for light, love and vitality. “The colors
are swirling and fluid, as the lamp is lifted and carried by the wind,”
she explained, “emitting light on the way to the Buddha.”
CATARINA TABORDA
AND LUÍS GASPER
Pirikos Cake Design
Figueira da Foz, Portugal
It’s probably no surprise that Catarina Taborda, a
former geographer, and Luís Gaspar, a former architect,
created a temple for their Festival of Vesak design.
They researched Buddhist temples from all over the
world, then created their own interpretation, setting
it against a serene “pond” to convey the idea of the
building floating like a lotus blossom.

ROBERT GOSHE
Easton, MD
“I have always admired the Lambeth method and
this was my third attempt at a Lambeth cake for
competition,” said Robert Goshe, referring to the
cake he designed for the 2014 National Capital
Area Cake Show. “I chose various border designs
built up using a range of tips and did two sets of
drop strings on the sides. The top set has a zigzag
base with the build up and the lower was a simple
descending three-drop design. The base border
was a new design for me, with elongated shells
with the fleur-de-lis design built up on top of each
shell. As for the miniature roses, they are piped
with tube 101 in royal icing on toothpicks, while the
five center white leaves are molded in gumpaste.”
See details from this design via the digital edition.
NADIA FLECHA GUAZO

ChokoLate | Brussels, Belgium
“When I first started looking for inspiration for my Festival of Vesak
cake, the main themes were the colorful lanterns and green Bodhi
tree leaves,” said Nadia Flecha Guazo. “So I decided to combine
these ideas using green wafer paper, to convey the translucency of
the lantern, cut in a lotus blossom pattern.” A branch of wafer paper
phalaenopsis orchids are added for their beauty and color.

your dreams to life
See details and other photos from this cake, plus
Ceri’s explanation of the difference between Lambeth
and English over-piping via the digital edition.
B r in g
CERI DD GRIFFITHS
Cardiff, Wales, UK
“I am not someone who pipes true Lambeth. Instead, I pipe
English over-piping, although some would say they are one
and the same,” said Ceri DD Griffiths. “The cake you see here
was decorated with white royal icing using PME tips 44, 51S,
4, 3 and 2. The miniature gumpaste roses were molded using
an Alphabet rose mold and my favorite little plunger blossoms
are also gumpaste. The final touch is the 4mm sugar pearls
dusted with a pearl luster dust.”
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DANY LIND
See progress shots from these cookies via the digital edition.
Dany’s Cakes | Turner, ME
“My Flower Fairy cookies for the Sugar Myths & Fantasies collaboration were based on the popular fairy artwork of Cicely
Mary Barker,” said Dany Lind. “One of the techniques often seen in my cookies is the creation of dimension and contours with
royal icing, and you will see that dimension in my Dandelion Fairy, in particular—not only in his face, but in the folds of his
coat and the strands of his hair. In addition to using royal icing to create depth and texture, I sometimes use fondant and wafer
paper, as well: The toddler fairy’s flowers are done in fondant, and all three of the fairies’ wings are handpainted wafer paper,
as were some of the dandelion seeds and the lower petals on the Dandelion Fairy cookie. I think cookies appeal to me more
than other forms of sugar art because a cookie has to be entirely edible, which is an interesting—and delicious—challenge.

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IN MY KITCHEN
won for the junior division. It was a simple round cake with
a marzipan-covered tree. It had a swing with a bunny on it
and other bunny characters under the tree looking for eggs.
I guess I was already creating illustration scenes on my cakes
back then!
I’ve been creating cakes for friends and families since then.
It wasn’t until I started using other sugar art mediums that
my designs became more interesting. I had never worked
with fondant, gumpaste, modeling chocolate or isomalt
until two years ago.
What are some of the differences between

illustrating books and working on cakes?
The difference between illustration for books and creating
a celebration cake is the story and the experience that you
put your viewer into. When you create an illustration for
children, there must be an element of surprise that propels
the reader to turn the page. You must let the reader have the
AKIKO WHITE full experience of being in that scene. When decorating a
cake, it is more about the impression that you make on the
people who will enjoy that cake at that moment. It’s fleeting
and beautiful, but it will only be a personal memory of that
Akiko White is an award-winning children’s time in their life. With a cakelustration, I am creating my own
book author/illustrator who created the scene, characters and story, whereas when one creates a
cake, it is usually from something that has already been seen.
term “cakelustrations” for her innovative
For instance, movie characters, items from life that
approach to using cake in her detailed we enjoy, and anything that touches the receiver in some
designs. She won a Tomie dePaola award special way.
in 2014 for her first cakelustration in a
prestigious children’s book competition Do you have to adjust any of your painting
through the Society of Children’s Book techniques when working on cakes?
Writer’s and Illustrators. At the 2015 That Painting on cakes is similar to watercolor painting. The paint
Takes the Cake show in Austin, TX, White doesn’t pool up and create the beautiful happy accidents
won the best in division competition for her that you get with watercolor, but it does have the same
translucent quality, depending on how much vodka you
Pied Piper cakelustration on the theme of
add. I have successfully used chocolate to paint with the
“Once Upon a Cake.” palette knife technique. And I have seen how others use
buttercream for splashes of color on cakes and they all look
With your background—professional very nice. But there is nothing that can compare to painting
illustrator, graphic designer and adjunct with real oil paints.
professor of fine arts—how you did get
involved in cake design? What advice would you offer cake decorators
I am from a small West Texas town. We didn’t have who are hesitant to try painting on cake?
bakeries other than our little grocery store. My mother and The most important advice I can give is to not strive for the
grandmother would always make their own cakes for special perfect painted cake. I tell my students all the time that it’s
occasions. For bigger celebrations, we would purchase a not important to be perfect. Do your best and enjoy every
cake from a baker in Abilene, which was 45 miles away. moment of it. Imperfection is what makes us all unique. If
When I was in high school, my mother invited the decorator you go into it thinking it has to look perfect then you are
from Abilene to put on a class in our church basement. surely going to fail. I was a victim of that when I was younger;
It was all about buttercream at the time, so I learned the I thought my drawing had to be perfect. But now I can see
basics then. I did enter a small cake show in the mall and

how an unexpected curve of a brush stroke or loose line
work can actually be beautiful. It shows that the work was
done by hand and not by a computer.
If you enjoy painting on cakes and would like more detail
about this style of cake art, Natasha Collins’ beautiful
book The Painted Cake goes into great detail about how Cake by Shayne Greenman Cake by Sharon Spradley
to create a painted cake. She even shares her techniques,
troubleshooting and basic recipes. Just Add Water To
Editor’s note: The Painted Cake is the subject of our By the HYDRATE AND DECORATE
Book column in this issue; see page 38.
Natural decorating food colors derived
In a free Craftsy class called The Hand Painted Cake, Erin from fruits, vegetables, roots, seeds
Schaefgen of Three Little Blackbirds Bakery & Farm shows and minerals in unprecedented color
you how to pick a design, learn about color and how to strength and brillance.
transfer an image onto a cake. She also shows you how paint
freehand onto the cake. Go to: craftsy.me/1JhaBM1. ACD TM
Weblinks www.akikowhite.com
www.akikowhite.blogspot.com TruColorTM Natural Food Color Paint
twitter.com/akikowhite and Natural Gel Paste Powder Colors
linkedin.com/in/akikowhite
facebook.com/white.akiko 14144 Central Ave. Unit G | Chino CA 91710
pinterest.com/akikowhite/ 909-271-8869
flickr.com/photos/akikowhite Sales@TruColor.org
What’s your
secret ingredient?
When you make cakes,

just add flour.TM
Retail. Commercial. Wholesale.
Akiko provided a short tutorial on the painted cake

she's shown working on here, a design based on a piece (888)443-CAKE (2253)
of Japanese porcelain. Available online via ACD+ at
AmericanCakeDecorating.com
www.flourconfections.com

MADELEINE
THE adeleine
QUESTIONNAIRE
Our take on the Proust Questionnaire, in deference to
his masterpiece Remembrance of Things Past, where a
madeleine dipped in tea evokes waves of sensory memories.
A self-taught artist of many mediums, Avalon Yarnes discovered

cake decorating at the age of 19 and has never looked back. Her
designs range from elaborate, gravity-defying sculpted cakes to
over-the-top hanging chandelier wedding cakes. After competing
on “Food Network Challenge” and “From Duff Till Dawn,” she is
now focused on teaching, blogging and creative cake development.
What kitchen task What’s your favorite

do you find to be recipe you’ve developed?
the most soothing? My chocolate cake recipe. It was
Well, it’s not your typical created for, and successfully
kitchen task, but when I have baked, at 10,000 feet above
the opportunity to sculpt sea level. To bake at that altitude
faces, I’m in heaven. I zone One of the many beautifully is a feat alone, but for it to actually
detailed sculpted faces created
out and get lost in the details by Yarnes, this "Mother Nature" taste divine too? I have to pat
for hours. The smell of a good design was created for the myself on the back just a little! This isn’t Yarnes’ coveted
recently revealed Sugar Myths high-altitude recipe, but
dinner is usually the only thing one called A Southern
that can pull me away.
& Fantasies collaboration. What's the best advice
Take on Chocolate
you’ve ever received? Cake that she and Kara
What’s your “secret weapon” in the kitchen? If you want something you’ve Andretta developed for
their appearance on
Shortening! I may not be keen on shortening-based icings, never had, you have to do “From Duff Till Dawn.”
but I do use shortening to aid with many of my decorating something you’ve never done.
tasks. For instance, I use it to adhere fondant décor to Always push yourself if you want to grow!
fondant, as it allows you to move around your pieces and
easily take them off if need be. Do you have a favorite cookbook?
If so, what won you over?
Who’s been the Cake Love by Warren Brown. I love his passion for scratch
biggest influence cake, unique flavors and his extremely thorough explanation
on your career? of the science behind cake. Most of all, he includes high
Actually, the modern art altitude alterations to the recipes—
scene has been a huge huge for those of us who have to battle
influence on my career, along with high altitude hurdles.
The Mondrian cake by Caitlin
with fellow decorators who
Cake Love is Washington D.C. baker Warren
Freeman is featured on the dare to push the envelope of Brown’s first book. A self-proclaimed baking
cover of her book, Modern “cake decorating” and strive science nerd, his “downtime” is often
Art Desserts.
to make it “cake art.” occupied by tweaking recipes in his head.
Weblinks Avaloncakes.com
Facebook.com/avaloncakes

PROFILE
THE SCIENCE OF Spectacular

BY SUSAN SCHULTZ
Mich Turner’s first book, Spectacular Cakes, was published just

five years after she launched her own business, Little Venice Cake
Company. Since then, she has gone on to publish four more books;
design cakes for Madonna, Pierce Brosnan, Paul McCartney and
Queen Elizabeth II, among many other notables; and launch a line
of bakeware and cake decorating tools, all while keeping up a busy
schedule of television and teaching appearances. In September,
she’ll be a headliner at the Americas Cake & Sugarcraft Fair,
in Orlando, FL, so now is the perfect time to learn more about
this amazingly prolific businesswoman, who graciously fit in our
interviews between trips to Kuwait, New York City and Munich.
First, a little background: After American Cake Decorating: What is

completing a degree in food the best business takeaway you learned
from your time at Harvey Nichols?
science and nutrition, Turner
was quickly approached by Mich Turner: How important it is to
identify your company’s brand values
the luxury department store
and adhere to these. I started my
Harvey Nichols to be its bakery company with the ethos of providing
and pâtisserie buyer. She made the best—in terms of product, service,
cakes in her spare time and, experience, design and professionalism.
in 1999, decided to launch Set your place in the market and always
Little Venice Cake Company strive to be your best and worst critic.
(LVCC) out of the apartment ACD: What did you absolutely have to
she shared with her husband. know when you opened your business?
Combining her deep knowledge MT: That I had the determination and
of the science of baking with self-belief from within for it to succeed—
an artist’s eye for design, everything I’ve turned my hand to, I’ve
LVCC cakes were soon on the made sure I had the best technical and
hot list of stylists, event planners and other scientific approach to it.
high-profile connections. Turner was named ACD: How did you transition from a home-based business
Harper’s Bazaar & CHANEL Entrepreneur of to a storefront?
the Year 2006, and in 2009 Little Venice Cake MT: I started with wedding cake commissions from guests
Company was listed in the Walpole Brands of the leading five-star London hotels. My reputation grew
of Tomorrow. In 2010 she was honored with as being reliable, trustworthy and good. Within two years,
a Member of the Most Excellent Order of the I’d been booked for celebrity weddings, still working out
British Empire (MBE) for her services to the of our flat in Little Venice, West London, where cakes
occupied every available free space. I was expecting twins
catering industry.

and it became apparent that we needed to move the
business into commercial premises. I was five months
pregnant when we moved into our commercial space and
hired my first two full-time staff members.
ACD: Given your experience with high-profile clients,

what have you learned about PR and marketing from
the teams that surround these names and the buzz
they generate?
MT: The right PR can make a difference—people at these
events will come back to you when they need a cake. And
it’s better to have other people say how great your product
is rather than spending on advertising to blow your own
trumpet. So, these types of projects open doors and
boost the credibility of the business, but it is important
to always be respectful. While it’s amazing to be asked by
these well-known individuals to design and make cakes
for them, all our clients are treated with the same level of
integrity, respect and creative input, regardless of who
they are.
ACD: How did the decision come to take the extra time
to write your first book?
MT: I was approached by Jacqui Small Publishing in 2004,
after contributing a cake or a spread on wedding flowers
to a book by Paula Pryke for a spread on wedding flowers.
The company had been looking to work on a cake book—
we met, everything went great, and Spectacular Cakes
was published in 2005. Since then, we have published
five books together, which have been translated and co-
published around the world and won several awards. My
latest book, Mich Turner’s Cake School, combines 25 years’
experience as a cake decorator, food scientist and teacher.
Each book is a labor of love, taking two years to publish,
and it is a challenging but rewarding process. It takes me
back to my roots of writing laboratory reports to ensure
the reader can turn everyday baking into show-stopping
cakes with successful results.
ACD: Next came product development, correct?

How did that come about?
MT: As an entrepreneur, every day is about new product
development—you need to keep moving forward and
thinking about the next opportunity—whether with cake
recipe development, new design collections, master
classes or other TV opportunities. It was a natural
progression to work with DoCrafts on a range of bakeware
and cake decorating tools to have an aspirational range
of professional tools to inspire budding cake enthusiasts.
We have an ongoing program to launch new tools—we Turner has been called “The Bentley of cake makers” by
have exciting kits out later this year, as well as new cutters, Gordon Ramsay and her perfectionism can be seen in the
flawless finishes of her fondant coverings and the delicate
knives and palette knives. painterly details of her designs.

Photography: Richard Jung,
from Wedding Cakes by Mich Turner.
Copyright 2014 Rizzoli Universe
Promotional Books.
successful TV series in the U.S. and U.K.; a range of edibles
RECIPE Get Mich Turner’s popular carrot cake recipe—the
same recipe she used for Pierce Brosnan’s wedding to accompany my tools and global sales of the Little Venice
cake—via the digital edition. Cake Company brand. I would like another book and
the franchise in Kuwait to be phenomenally successful,
ACD: In order to allow LVCC (and you) to become the expanding globally. We also have plans to set up Little
brand it now is, did you have to reorganize the core cake Venice Cake Company craft tours around the world.
design business? In addition, I would also like to spend quality time with my
MT: We have been through the early growth stage of the family and invest in my health and well-being. Not much to
business—establishing our credentials and position in the ask, surely?
market as a premium, innovative leader of wedding and
ACD: Any advice you’d like to offer others getting ready to
special occasion cakes. The business has diversified more
launch their cake careers?
now to focus on the commercial side of the business with
tools, books, live onstage and TV demonstrations, teaching MT: One: Be aware the market is becoming more saturated,
and the franchise in order to reach more people. I still make so choose your niche wisely. Concentrate on what you do
spectacular cakes—but only on really special occasions if my really well. Two: Walk before you can run—any fool can
calendar allows. spend money. There is no fast track to experience. Three:
Building a successful brand has its sacrifices. It’s not enough
ACD: Given all the different aspects of your business now, to make cakes every day. You have to have the passion to
do you have a “typical” business day anymore? drive the business forward. Don’t expect to have a social
MT: There is no typical day as I oversee the brand life, watch TV or entertain with dinner parties. Be prepared
management—linking all the elements together, so what to sleep little and be all things to all people. Four: Don’t
I do on any given day depends on what’s on the schedule. confuse estimated profit with the real thing. A business runs
LVCC has recently granted a franchise in Kuwait and we on profitability, not creativity. Five: Network as much as you
will have a boutique opening later this year to service UAE. can but be careful—everyone loves a free cake— you need to
So I’ve been spending time in Kuwait teaching, liaising make sure you are remunerated for your talent. ACD
with the marketing team and in recipe development. Other
days I can be found onstage at various international cake Weblinks Lvcc.co.uk
shows demonstrating, in classrooms teaching, at book Twitter.com/@MichTurnerLVCC
signings and giving interviews. I appear regularly on Cakefair.com
TV—as a demonstrator, contributor or judge. I am often
asked by large food retail companies to host demonstrations
or master classes as well as hosting my own master classes
at London’s The Dorchester Hotel and Coworth Park.
ACD: What sacrifices have you made in order to develop

your business?
MT: We don’t spend our weekends socializing with friends

and we’ve probably missed out on some of the holidays that
other people would take, but I have no regrets. We have this
business that we have built, it wasn’t a family business [that
we inherited], we did it by ourselves.
I am very fortunate I enjoy every aspect of my business,
but this is only made possible because I have a wonderful,
supportive family, and love spending time at home
whenever I get the chance. FaceTime is fabulous for
keeping in touch with the family—they know they can
call me anytime, anywhere and I will always answer—even
if it is 2 a.m.! While her designs may draw the eye, Turner is, at heart, a food
scientist, and her understanding of baking science is key to her
success. “There is a science to baking and you should adhere to
ACD: Do you have any other plans for the future of LVCC it diligently, understanding what you are trying to achieve at each
that you can share? stage of the cake-making process. It’s important to emphasise
flavor, feel on the tongue and texture to harness a pleasurable,
MT: In three to five years’ time I would like to have memorable experience.”

BUSINESS MINDED
FINDING YOUR SELF-WORTH

AS A ARTIST Cake
“For many cake decorators, their first project was created for
a special family member. A series of requests from friends and
family becomes a regular hobby and eventually, the hobby
becomes a business,” said Jay Qualls. “This is the same path
I took, after making my first cake for my daughter’s birthday.
However, I believe this common history, of creating cakes as
gifts and favors, teaches cake artists to devalue their work.”
I believe that it’s a bad habit for cake designers to undervalue through interviews, surveys and other outreach is that
what they do as well as to undervalue what their work is this widespread habit of undervaluation has led many
worth. When I teach my Cake Biz 101 class, we spend an consumers to assume that one cake is as good as another.
entire hour talking about the theory of why we do what How many times have you heard from a prospective client
we do. Here are a few of most common backstories: that “it’s just cake” and therefore shouldn’t cost what
you’re asking? How many times has the line, “This lady
I’m a stay-at-home mom and I do cakes for friends in my neighborhood charges half as much for this same
and family. cake” been used to negotiate down your pricing? Do you
see how as an industry we have unknowingly educated our
I started doing cakes for my grandkids. consumers that “it’s just cake”?
The fact is, anyone in this business should be producing
I retired from my job and I needed something to cakes with a 30-40% profit margin. That is after your cost of
do with my time. ingredients (cost of goods), utilities, gas and labor, just to
name a few key expenses. And by labor, I mean you! Anyone
I decided to go to pastry school because I wanted with an intermediate skill set should be paying themselves
to open a cake shop. at least $10 to $11 per hour for every minute spent producing
a unit, whether it be a celebration cake, corporate cake
My kids are grown and I needed something to do or wedding cake. Speaking of wedding cakes—your profit
with my time. margin on those orders should be 45-55%, easily. You
should never apologize for your prices or your work. Always
I think it’s a safe bet to say that women make up give your client more than they expect and if you aren’t
approximately 95% of this industry and we are all aware of trying to make a profit on your work, you should at least
the struggles that women face for equal pay in any business. legitimately break even so you aren’t paying people to take
Many of the people who have attended the Cake Biz class your amazing creations!
don’t feel that what they are producing has value because This brings up an important issue: There is a lot of
they were previously giving their cakes away as gifts, or misconception about how to appropriately price work
asking only for the cost of ingredients. They were often for profit. If you’ve decided to make cake decorating your
“paid in praise,” with these compliments providing a form business, you have a responsibility to yourself and your
of affirmation that has its own value. But a business needs colleagues in this industry to establish the necessary
money to run, and now, out of habit, these people are operations, processes, procedures, standards and
practically giving away the skills and creativity that brought accounting practices to effectively run a viable, sustainable
them such attention and encouragement. cake business. If you’re unsure about how to accurately
This is bad for their business and bad for everyone in the calculate your costs, talk to an accountant, a mentor
business of making cakes. Because what I have discovered from SCORE, or take a class from some cake industry

professionals (like myself) who address this topic
in their classes.
“
A custom cake is a luxury item and luxury items come with
“
a luxury price. I use this analogy:
BMW doesn’t reduce their prices

just because a certain consumer
can’t afford their cars.
So for that cake designer who says, “I can’t charge that
where I live, people won’t pay,” keep in mind, there is a
certain portion of the marketplace that will pay whatever NOW KEEPING
it costs for a product. If we all work together to recreate
the standard of what cakes should cost and educate the
TRACK OF YOUR
consumer, they will pay what it costs. PRECISION TOOLS
Ultimately, my philosophy is this: Because I know what it
costs to produce my cakes, if you aren’t willing to buy what
I’m selling, I am not willing to sell it! I have not romanticized IS A PIECE
the notion of doing a cake because it makes “people feel
good.” I am glad that they do, but my client feeling good
is not going to feed my kids or pay my mortgage. I can get
OF CAKE.
affirmation and positive encouragement from my family and
friends—I need consumers who like my work and are willing
to pay for it. Imagine how you would feel if you received
those praises and there was a 50% profit margin associated
with the cake you made. Now, that is a great feeling of
accomplishment and self-worth! ACD
Based in Nashville, TN,

Jay Qualls is a well-known
figure in the cake design
business. A top competitor
on the first season of “TLC’s
Next Great American Baker,”
he was also in season two
of “The Taste.” Qualls’ work
was featured in the 15th
anniversary edition of Martha With the newly designed Basic Knife Set from X-ACTO®,
Stewart Weddings, and has
your indispensible cutting tools stay organized and secure.
also been seen in Southern Living Magazine, Bridal
Guide Magazine and InStyle Magazine. He has designed
The kit includes three essential knives plus a full set of precision
cakes for country music stars Martina McBride, Miranda
blades stored neatly in a form-fitting, magnetic tray. All inside a
Lambert/Blake Shelton, Kelly Pickler and many other
public figures. He teaches classes on cake design and compact case with a durable nylon cover. You’re serious about
the business of cake throughout the U.S. and Canada. professional results. That’s why we’re Serious About Sharp.
Weblinks Jayqualls.com LEARN MORE AT XACTO.COM
Facebook.com/JayQuallsPR
Twitter.com/JayQualls
Jayquallscakes.tumblr.com
Instagram.com/jayqualls
Pinterest.com/jayqualls/

26006 XACTO_ACD Ad_3_475x9_875_CR.indd 1 5/11/15 5:33 PM
COLOR STORY
MAKE A Statement
BY JUNITA BOGNANNI

Mixing and matching bright hues is a delicate matter, a tightrope
walk between the luminous and the lurid. Heightened color at its
very best is expressive, playful and joyous. At its worst, it can be
garish and distracting. How do cake designers navigate this path?
What are the secrets to using saturated colors well?
Commissioned cakes often come with a

prescribed color palette, but when left to their Digital Paintbox
own devices, many cake designers can’t help Suffering from a paltry palette? Thanks to these
but go bold. “I think muted and neutral colors color-centric websites, inspiration is just a few
are valid,” says Osires Barbosa, the Venezuelan keystrokes away.
designer behind Cakes by Oss. “I try to use Color Hunter
them, but I always end up making a cake with Upload an image to Color Hunter and it generates a custom
rich, vivid color. It is impossible for an artist to color palette that draws from the hues in your photo.
Inspired by post-modern pop art or the dreamy blues of
express something that is not part of his soul…
the Impressionists? Try uploading an image of your favorite
[and] my soul is colorful and vibrant!” painting and see what colors you get in return.
For Allison Kelleher, owner of AK Cake Design Shutterstock Palette
in Portland, OR, saturated colors are a natural If you’re still on the hunt for inspiration, visit Shutterstock
complement to her artistic impulses. “I tend to Palette for a library of images. Select a color, then add up to
gravitate towards graphic, modern designs that four more and an array of photos with a corresponding color
palette appears. You can enter keywords to further refine the
call for bold color,” she says. Luckily for color-
results. Search for “sea,” “sand” and “sun,” and marvel at
loving cake designers, today’s event etiquette what comes up.
rules are few and far between. “I definitely
think rich, colorful cakes are appropriate for Design Seeds
any occasion—as long as they work with the A blog inspired by colors found in nature, Design Seeds posts
an image and corresponding palette almost daily. Spot a
overall look and feel of the event and venue,” particularly striking color? You can search for similar hues or
says Kelleher. do a general query for colors of a certain theme (“succulents”
turns up an array of dreamy violets and deep greens).
Risks and Rewards
Cakes designed in a neutral palette are often a safe Colour Lovers
bet, but Kelleher argues that without risk there is little Join a community of color devotees if your creativity could use
reward. “Subdued or neutral colors are certainly more a boost from others. You can share palettes and patterns and
forgiving and easier to work with, but don’t deliver discuss the latest color trends. Colour Lovers has a database
the same kind of ‘wow factor’ you can only get from of palettes available for search even if you choose not to
saturated hues,” she says. create a personal account.
Adobe Color
LEFT: This cake by Allison Kelleher uses her embedded Formerly known as Kuler, Adobe Color offers a sophisticated
stripes technique that she first featured in a black and white
color wheel that allows you to create palettes that are
design created for The Cake Blog’s 2015 Wedding Cake
Preview. “The stripes are purposefully wonky (and this analogous, complementary, monochromatic and anywhere in
time only slightly embedded) to give the cake an organic between. The site also features a comprehensive database of
feel,” said Kelleher. “I wanted an effect like it’s wrapped preexisting color palettes for inspiration.
in ribbon.” Check out The Cake Blog for a short tutorial on
this technique. | Photography: Lara Ferroni.

Osires Barbosa, known for using strong, saturated colors in his designs, understands color theory, but instead of following these standards,
he says he prefers to be guided by emotion when developing his distinctive palettes.
Yet the brighter the hue, the more room for error. A sharp Design Strategies
color contrast, like a deep turquoise background with Pushing color boundaries often leads to other stylistic
poppy red accents, will either shine or completely flame out, experimentation. Sharp geometric patterns pack a punch
depending on the balance between the two hues. in bright, saturated colors, as do other clean, linear shapes.
“What I love about using color is that you can make a big “Quilt patterns, chevron and herringbone all look fantastic
impact with minimal design elements,” says Kelleher. “On [in bold colors] when they’re neat and clean,” says Kelleher.
the flip side, you can run the risk of clashing if the colors are “So many shapes work well—triangles, hexagons, stripes—
not chosen well.” So how do designers avoid this? Barbosa you name it!”
faces that challenge head on. “The clash [is] always there! In some cases, this pop of color can unexpectedly shift the
Do not try to avoid it, try to harmonize,” he says, insisting focal point of the cake, creating an asymmetrical design that
that clashing colors can shock the viewer in a good way, might otherwise be symmetrical. “To me, this is an organic
creating “visual charm.” process,” explains Barbosa. “I understand that some colors
Before diving into the deep end of bold hues, it helps to may provide greater light to other colors, and in other cases
understand the basics of color theory. Studying a classic other colors can totally eliminate the life of a color, [but] I try
color wheel can build awareness of how different shades to be guided by emotional feelings.”
look next to each other. An analogous color palette utilizes When designing with bold colors, Kelleher also uses an
shades close to each other, using slight variations in hue intuitive approach. “Not too long ago, I probably would
to achieve contrast. A complementary palette features have said that symmetrical designs work best,” she says.
colors that sit opposite each other on the wheel. And a “But currently, I’m working on much more organic motifs,
triadic palette uses three colors that are equally spaced and I find that color and high contrast work equally as well
apart. No matter which approach you choose, you’ll want in this context.”
to experiment with lots of variations. If the original color
combination is too jarring, consider separating them with Finding Inspiration
a neutral transition color or one just a few hues lighter
to differentiate the two. Kelleher recommends creating Once you start to see the world in bold colors, it’s difficult
a mock-up of the design using cut-out fondant pieces. to stop. And why would you want to? Inspiration can be
“During this process, if a color doesn’t look right, it usually found everywhere you look—along a flowering garden path
jumps out at me.” lush with wisteria, at a farmers market stall overflowing with

NEW! Fondant Icing
and Gum Paste
Perhaps one of Kelleher’s most popular designs, this color-block Established in 1896, Renshaw knows a thing or
cake was first introduced on The Cake Blog in 2013. “This two about rolled fondant! Now available in the
design was a bit of an anomaly for me, as I wanted to create
a cake version of Antonia Sellbach’s artwork,” she explained.
US, a specially formulated recipe in white and 8 key
“I tweaked her color palette slightly, and left the brushstokes colours and a variety of pack formats
on the individual tiles to harken back to the original.”
late summer produce, or on a cross-Atlantic trip. “One

of my main sources of inspiration is the area of Rajasthan, As used by
India,” says Barbosa. “It is a beautiful culture, full of CHEF NICHOLAS
vibrant colors that jump to the eye.” LODGE
Renshaw US Brand
Right now, Kelleher is drawing inspiration from nature. Ambassador, Pastry Chef
and Master Cake
“I’m loving blues, greens and everything in between— Artist
ocean colors. They’re bold yet serene at the same time.”
There is freedom in taking such a lawless approach with
color. And fearlessness breeds creativity. Although
there’s a time and place for traditional cakes, true artistry
lies in pushing creative boundaries. The first step in that
direction may be an unconventional color combination.
So why not go bold? ACD
Junita Bognanni is a
freelance writer and food stylist
based in Saint Paul, Minnesota.
You can find more of her SCAN ME
writing about food and travel at for more details and to
www.cannolipepperoni.com. ﬁnd out where to buy
CELEBRATING CAKE FOR GENERATIONS

Join the conversation Renshawbaking
www.renshawbaking.com
larry.italiano@renshawbaking.com

SWEET SCIENCE
IN THE T hick OF THINGS

“That first batch of cookies I ever made may have been what first
interested me in baking science,” said Joseph Cumm. “I added twice
as much sugar as the recipe called for and watched as they spread
and spread, eventually turning into some form of brittle. Or maybe
it was watching my mother make that homemade pudding and
wondering how milk and eggs would transform into something richly
creamy and spoonable. But it wasn’t until my first baking science
class, nearly 20 years later, that I finally began to understand the role
thickening and gelling agents play in creating optimal finished results.”
The three main categories of thickening or gelling agents by its gel strength, also called bloom rating, measured on
are gelatin, vegetable gums and starches. These ingredients a scale called the bloom scale. This scale ranges from 50 to
function by absorbing or trapping water. To understand the 300. Gelatin with a high bloom rating will form a firmer gel
process, we need to revisit our high school chemistry class. and be of higher quality. This higher quality also produces
The common link between the three categories is they all a cleaner flavor and lighter color in a product.
contain large molecules. These molecules are what we know Powdered gelatin is normally around 230. Sheet gelatin
as polysaccharides and proteins. Starches and proteins are can be purchased in four grades, Platinum, Gold, Silver
large molecules that are comprised of thousands of sugar and Bronze, with bloom ratings of 250, 200, 160 and 140,
molecules or amino acids linked together to form very respectively. The sheets vary in weight, with Platinum
long chains. being the lightest. So, if a recipe calls for 10 sheets of
Thickening occurs when large protein or polysaccharide gelatin, you can use any type but know that with the lower
molecules start to run into each other and tangle up, grades you are actually using more gelatin. Sheet gelatin
causing water and other molecules or particles to move and powdered gelatin can be used interchangeably, but I
around very slowly. It can also happen when starches always recommend to my students that if a formula specifies
absorb water and swell in the presence of heat. In baking, one type to use that if possible. If a substitution is needed,
the egg is the most common thickening agent, used in the rule of thumb is 17 sheets per ounce of powdered (230
pudding, pastry cream or fruit curd filling. bloom rating). Also note that powdered gelatin uses a
Gelling occurs when water or other molecules in a specific amount of water, while sheet gelatin does not, so
product are so entangled they cannot move. And though the liquids in the formula would need to be adjusted as well.
these products appear solid, in this state they are actually
still a liquid. Agents of Change: Vegetable Gums
Vegetable gums are less commonly used in home baking,
Side Note: but are consumed by almost everyone every day. If you
The easiest way to thicken a product is to add an are an ingredient reader, you’ve seen the name of one
ingredient that is already thick—sour cream, heavy cream, or more gums on labels, as many of these products are
jams, jellies, purees and yogurt are just a few in a long list. used to stabilize food in the grocery freezer or shelves.
Of course, these items do more than thicken; they also These include pectin, agar, carrageenan, guar/locust gum,
add flavor to your baked goods. gum arabic, gum tragacanth and xanthan gum. These
are plant-based thickeners, derived from fruits, seaweed,
legumes and trees, which allow the baker to make
Agents of Change: Gelatin vegetarian/vegan desserts. The most familiar is pectin,
As mentioned, there are three main categories for both used to make jams/jellies. Agar and carrageenan are found
thickening and gelling. Depending on the use or the amount in sauces, icing, fillings and milk products like instant
added, some products in these categories can both thicken puddings, ice creams and drinks. Other common products
and gel. using gums are fondant, gum paste and royal icings.
Gelatin is probably the most common, or maybe just the
Agents of Change: Starches
most well known gelling agent. It is commonly used in food,
pharmaceuticals, photography and cosmetic manufacturing. Typically, starches are used to thicken custards, fillings,
Foods that may contain gelatin include, of course, gelatin sauce and glazes. When heated, starch molecules unfold
desserts, as well as candies like marshmallows, gummies and begin to absorb large amounts of water. As the heating
and fruit snacks. It can be used as a stabilizer or thickener in continues, the starches continue to swell, making the
foods such as yogurt, cream cheese and margarine. It is also molecules move much slower and thickening the product.
used in fat-reduced foods to create the mouth-feel of fat but Unfortunately, there is a point where you can overheat.
minus the calories. The temperature is around 180-185ºF. If you reach this
Gelatin can be purchased in either sheets or powder temperature, water begins to leach out and the product
form. Which is better? There is no one answer to this. It is is considered “curdled.”
personal preference to which one you use. Gelatin is rated

Precision is Key play a role in molecular gastronomy, commercial fondant
When using these products, careful planning and and, most recently, cake lace. Combining and manipulating
measuring is needed. Personally, I have a scale that gelling and thickening agents has led to new products and
measures percentages of grams, as the finished result can new techniques. Maybe with some kitchen research, you
change from thickening to gelling with just the slightest can create the next great product! ACD
difference. It’s also important to understand the different
performance aspects of each agent. For example, gelatin Chef Joseph Cumm
can be whipped where agar cannot. So, agar is not a is a pastry arts instructor at
product you should use to stabilize a whipped cream. If the Pennsylvania School of
you’re worried about mouth feel, gelatin is the choice for Culinary Arts. Along with his
that melt-in-your-mouth effect, as its melting point is close wife, he also owns EdenJoes
Cakery. He is a summa cum
to your body temperature. In fondant, gelatin is used to laude graduate of Johnson
make the product more elastic and workable. If you add and Wales University, where
some gum tragacanth or other gums, it becomes gum paste. he trained as a classical pastry
The difference is that the final product dries much harder chef. He has been decorating
and allows you to have a thinner product, which makes for cakes for 15 years and
continues to push himself in the art of sugar. He won the
thinner, more delicate gum paste flowers.
2013 Art of Cake competition at Pastry Live and served
The chemistry behind thickening and gelling can take up as a judge at the 2014 competition. In March 2014, he was
pages and pages of textbooks and I have devoted several one of 10 pastry chefs who competed for U.S. Pastry Chef
of the Year in New York City.
five-hour lessons for my students on just this subject, so
this is merely an introduction to this fascinating aspect of Weblink pastrychefjoe.com
the culinary arts. In recent years, we have seen these agents
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Our goal is to provide a temporary escape from
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the NEW AmericanCakeDecorating.com website.
As smart, savvy members of the cake decorating
community, your response has been very gratifying!
Remember, with the new site-wide search engine,
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tutorials—and we’re adding great new content every
We’d love to hear your suggestions day. Plus, all the fantastic information that we can’t fit
on what else you’d like us in every issue is now online under our ACD+ button!
to include on the ACD site!
Please get in touch at contact@ AMERICAN
americancakedecorating.com.
Decorating
BY THE BOOK
Artistic
ENCOURAGING LICENSE
“My experience painting on cakes is very limited, but it’s a skill I’d
really like to improve,” said Linda Cloutier. “I’ve admired Natasha
Collins and Nevie-Pie Cakes for most of my cake career so I jumped
at the chance to review this book. The Painted Cake is just as visually
stunning as one would expect from someone of her level of artistry.”
I was sorely tempted to flip through it to the pictures

and the projects right away—the photography is
lovely and the illustrations are enchanting—but
I resisted and read it cover to cover from the
beginning. I’m very glad I did. The welcome at the
beginning makes me wish I could take a class from
the author. Her belief that each person’s unique
“hand” and personality results in a distinctive
finished product is very appealing and encouraging.
Essential Information
The early chapter, “Putting Your Kit Together,” is one of
the best of its kind I’ve read. It’s a practical list of equipment
needed for baking and decorating cakes, with good advice
mixed in. Actual photographs of the tools and brushes
Collins recommends would have been useful, though. The
sub-chapter on painting equipment was especially helpful,
although I do wish she had addressed some differences in
products in more detail. She uses paste food color, but says Used with permission from The Painted Cake by Natasha Collins
that gels can also be used. In the U.S., if you search online (Murdoch Books). Photography: Nathan Pask.
for paste food coloring, you get results for gel paste, and
I don’t think that’s what the author was referring to. I can
Side Note:
only assume that the reference was to something used in
The book contains recipes for traditional British sponge and
the U.K. but either not readily available, or called something
fruit cakes, along with sugar and gingerbread cookies, and
different, in the U.S. I was very pleased that the author
buttercream. The recipes appear to be very well-written,
addressed the issue of edible vs. non-edible color for use
with instruction on both hand-mixing and the use of a stand
on cakes and decorations and she stresses the need to
mixer, and are scaled for several sizes. I didn’t try any of
keep tools exclusively for cake decorating. I also learned
them, as I was focused strictly on the decorating.
how I should have been (and now will be) caring for my
paint brushes. The chapter on covering and stacking cakes seems a little
superfluous. There is nothing new or innovative that
I really appreciated the instruction on mixing and using
would interest an experienced cake decorator, and yet
tones, highlights and lowlights. I would have valued more
the instruction isn’t really detailed enough for a novice.
direction on color mixing and obtaining desired colors.

“The pansies and the butterflies were my first attempt at applying Collins’ instructions,” said Cloutier. “I started with projects that were too
ambitious for my skills, and I was not pleased with the results. So I stepped back and instead tried one of the book’s easiest projects—the
yellow mimosa blossoms.”
Collins’ instruction on specific flowers was very informative of the easy projects. I did the mimosa branches (one paint
and practical, with hints to keep flowers multi-dimensional splotch: very easy) on a small, fondant-covered tier. This
and realistically sized and proportioned. It never would have was the perfect project for my skill level. As I worked my way
occurred to me that a round flower, painted over the edge of around the cake, I settled into a good method for mixing my
a cake, must be elongated to counteract the optical illusion color and finding how it should look and feel on my palette
that occurs when the round shape is interrupted. Her to get the desired effect on my fondant. While the finished
troubleshooting tricks are invaluable. They include not only piece wasn’t display-worthy, it was certainly a worthwhile
how to remove paint from fondant but how to overcome use of my time.
design stumbling blocks.
Picking up the Palette

The project chapters are bursting with gorgeous cakes,
cupcakes and cookies. I couldn’t wait to get started! I tried
a few small projects first, just to get a feel for mixing the
color with water instead of alcohol, which was an unfamiliar
approach for me, and adjusting the instructions for use with
gel instead of paste colors.
Each project is scaled from one paint splotch to five for
level of difficulty and has its own set of written instruction,
along with pictures showing several phases of what the
project looks like. As a novice painter, I believe pictures that
included brush angles and placement and size references
would have been helpful. The descriptions of the brushes
by number were confusing to me and there are no actual
photographs of the brushes used.
I started out by free-hand painting some pansies on fondant Collins’ classifies this design as an advanced project, citing several
discs and made some small gumpaste butterflies. I’ll be reasons, such as the three layers of painting this design requires.
honest, I struggled with the colors and techniques. I wasn’t “The initial layer acts as a rough guide for the design, the second
happy with any of my results. However, both of those layer is the gold paint. Before you can paint the final layer, you
need to wash off any gold paint sitting on top of the flowers and
projects were classified as four paint splotches (advanced) leaves. You need to paint the design freehand. If you trace the
on the scale, so I decided to take a step back and try one design, you will soon lose any guidelines because of all the layers.”

The bird cookie is one of six designs Collins’ presents for a project. “I decided to use the bird as my design theme and adapted them as a
individual fondant cutouts for my cake.”
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Divisions from youth through professional with multiple categories in each division.
Compete for over $7500 in top cash and prizes with entrants from around the world!
For my main project, I really wanted to try Collins’ All in all, this book is a wonderful addition to any cake
cut-out painting technique, but felt the flowers in the decorator’s library. I know I’ll be using it for inspiration
original project in the book would be beyond my current and reference, over and over again. ACD
skill level. Instead, I adapted and enlarged a template
meant to be painted onto cookies. I used the pencil transfer Weblinks NeviePieCakes.com
method to get my pattern onto the rolled-out fondant. Facebook.com/NeviePie
I used a very pale brown non-toxic pencil and it worked Pinterest.com/AmeliasHouse/Nevie-Pie-Cakes
very well. I followed the instructions and painted my birds,
using shades of yellow, pale orange and brown, then cut
them out with an X-Acto knife. When doing this again, I will Linda Cloutier,
roll the fondant much thinner and I will cut, then paint, the an award-winning cake
decorator and baker,
plaques, to avoid having white edges. opened Iced and Dazzle,
As a background for the birds, I used a variation of the a home-based custom
cherry blossom cake in the book (two paint splotches: cake business located
in Colorado Springs, CO,
easy). I covered a small, two-tiered cake in white fondant
in June of 2012.
then painted brown branches in a semi-random pattern.
I applied somewhat abstract five- and three-petal blossoms
by layering shades of orange, then added a smattering of
leaves in two shades of green. I added three of the painted
birds and some gumpaste blossoms and leaves to provide Weblinks IcedAndDazzle.com
a multi-dimensional look. After practicing the techniques, Facebook.com/IcedAndDazzle
I enjoyed this project from start to finish, and was very
pleased with the results.

A MATTER OF TASTE
SEDUCTIVE Beauty
“I first encountered jasmine in bloom at The Inn on First, in
Napa, CA,” said Derek Aimonetto. “Their heady perfume
created an atmosphere of peaceful grace, and for the rest
of my life I will always associate its taste and aroma with my
wedding, which took place there in the gardens.”
With a hint of earthy tropical jungles and pristine exotic
gardens, jasmine offers a welcome opportunity to put a
twist on classic recipes. Its small, delicate blossom has a
distinctly rich, honeysuckle-like flavor and an aroma that is
both calming and seductive. Knowing the close connection
our sense of smell has to our sense of taste, I commented
several times that I would love to create a dessert that
tastes the way those jasmine bushes smelled.
After the ceremony, we celebrated our union with
close friends at Chef Ken Frank’s local Michelin-starred
restaurant, La Toque. To my delight, the first selection on
the dessert menu was White Chocolate Jasmine Mousse.
(Yes, I read the dessert menu first!) It was delicious,
delivering the exotic, delicate flavor as if on a cloud,
dissolving in my mouth and leaving behind a lingering
floral echo—and I’ve been hooked ever since.
Jasmine’s subtle appeal is reminiscent of Tahitian vanilla,
but with a floral complexity that sets itself completely
apart. Since my introduction to this flavorful flower, I have
incorporated it into a variety of recipes, giving them an
unexpected and distinctly sophisticated twist.
Prized throughout the world for its subtle, sweet flavor,
jasmine is primarily used in teas and essential oils. When
exploring how to use jasmine as a culinary element, you’ll
want to get to know the other flavors that complement Derek Aimonetto, left, with his husband Glenn Rowe, in
and enhance it. Tahitian vanilla (my preferred brand front of the flowering jasmine bushes at their wedding.
is Nielsen-Massey) and chamomile both act as flavor
enhancers to jasmine, but it is important to keep in mind blossom tea to the heavy whipping cream and gently heat it
that jasmine is subtle and easily overpowered. Approach in a double boiler. Once warm, remove the cream from the
the balance of flavors in your recipes as a culinary bouquet; heat and refrigerate it until it is completely chilled. Remove
too much of any other flower and the delicate jasmine will the tea bags and thoroughly strain the cream to remove any
get lost. However, do not feel as though you have to avoid stray tea leaves.
strong partnerships. When you take your first bite of the Use this jasmine-infused cream to make homemade
Jasmine Lemon Butter Cake recipe I developed, you are first whipped cream and your guests will have a delicious
introduced to the sweet lemon curd, which is then gradually surprise awaiting them at the end of the meal. And I find
replaced with the blossoming floral notes of the jasmine. that mixing green tea with the jasmine adds a bit of pleasant
When creating your own recipes using jasmine, use a earthiness to the infusion. My favorite means of enjoying
delicate hand at first. As with rose or lavender flavorings, jasmine infused whipped cream is on top of a generous
too much of the flavor in any one dish can result in crossing bowl of vanilla bean ice cream, but you can try the infusion
a line to a “soapy” taste. During my explorations I have approach with all sorts of liquids to make cakes, tarts or
found three different methods to add jasmine’s flavor to even jasmine custard.
a variety of dishes.
Jasmine Extract
Jasmine Blossom Green Tea You can find jasmine extract at specialty food stores or
If I am making a recipe that uses a significant amount of online, but when purchasing extract, you must ensure it
liquid, I can steep jasmine tea in that liquid to infuse it with is specifically for use in food; many jasmine extracts and
jasmine flavor. For example, you can give whipped cream a essential oils are safe only for making soap and other
subtle twist by simply adding two or three bags of jasmine non-culinary applications.

RECIPE
Get the recipes for Derek’s Jasmine Blossom Cookies and icing, as well as his Jasmine
Lemon Butter Cake with lemon curd and jasmine buttercream via the digital edition.
These little blossom cookies are the perfect accompaniment to a cup of chamomile tea.

Using jasmine extract is one of the easiest ways to deliver using this dust greatly enhances the impact of the jasmine
this exotic flavor to your desserts. The jasmine flavor is flavor in the rest of the recipe.
more assertive when you use an extract, and it’s far less So, whichever method you use for adding some jasmine
time-consuming than steeping jasmine tea. It can be flavor to your life, don’t miss the opportunity to explore
substituted for vanilla extract in most recipes with a the exotic beauty of this sweet little blossom. ACD
one-to-one ratio, making it simple to transform your favorite
recipes. For my explorations, I used an extract made by
Silver Cloud Estates, and the company also suggests adding Derek Aimonetto owns
it to fruit salad, salad dressing, sauces, ice cream and sorbet. Sweet Life Cakes, Cookies,
and Confections in Madison,
WI. Derek has been baking
Jasmine Powder for more than 15 years and
Another way to deliver jasmine to your sugar work is teaches baking, pastry arts
and cake decorating through
through edible jasmine powder. Available at specialty
Madison College’s Adult
culinary stores and online, More Than Cake offers their Continuing Education Program.
Edible Petals in a number of floral varieties, including
jasmine. Their edible powdered scent allows you to add Weblinks SweetLifeMadison.com
fragrance to fondant, icing and other culinary applications. Facebook.com/
Sweet-Life-Cakes-Cookies-Confections
With the strong connection between smell and taste,
Derek@SweetLifeMadison.com
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Decorating AND PRESENTATION
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of stainless steel, with each 2-1/8" diameter wheel riveted angle lines for triangle cuts along with 30-, 40-
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For safety and precision, material makes marking lines, ribbons and
the cutting wheels can be geometric patterns on fondant easy and precise.
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TUTORIAL
SUMMER Nva
“I love working with both royal icing and gumpaste flowers and often
try to combine the mediums,” said Julia Cullen. “Hibiscus flowers and
hummingbirds seemed like a perfect combination for a summer-themed
cake. I enjoy creating collars and Nirvana-style cakes not only for the
delicate finished look, but also because I like the challenge of lining up
the openings to highlight other aspects of the cake.”
Get the how-to on the large and small hibiscus

blossoms, plus the hummingbird, online at
ACD+ at AmericanCakeDecorating.com.

COMPONENTS:
8" round cake, covered in white fondant
1. Remove a small portion of royal icing to use to
outline the collars and save the rest of the batch
for flooding. Slowly add water or egg white until,
12" round cake board, covered in white fondant when you drop a line of across the bowl, the batch
2 c royal icing, with about 1/4 c set aside to color becomes smooth again at the count of 10. If it takes
Collar templates longer, slowly add more water or egg white. Try
Julie notes: Make your own patterns using a protractor and not to go beyond a count of 10, as it is difficult to
rule, or cake slicing guides. For this cake, mine is a gently thicken it up again.
flared variation of a compass rose. Julia notes: Using reconstituted egg white to dilute the
icing will make your pieces stronger. Real egg white
may be used as well, but may yellow with age.
FOR DESIGN & ASSEMBLY:
Acetate or plastic wrap
Masonite or acrylic board
Tape 2. Cover both bowls with plastic wrap and airtight
lids. When not in use, the icing must always be
PME tips 56R, 1, 1.5 and 0 covered or it will begin to dry out. Making the icing
at least a few hours in advance will allow time for
Wilton tip 349
some of the air bubbles to rise to the surface of the
Small paint brush (to neaten lines) flood-consistency icing.
Small paint brush, scribe tool or trussing needle
(to move/even out icing)
Parchment or disposable bags
Lamp with a regular bulb (not LED) 3. Prepare the template by taping it on the board,
making sure that it lays flat. Cover the template
Dehydrator (optional) with either acetate or plastic wrap and tape in
place. Do this for both the top and bottom collars.
Low, flat turntable (optional)
Julia notes: The plastic wrap works best if it is
Marker
stretched to wrap over the edge of the board and
Knee-high pantyhose (clean/unworn) taped. I like to draw or trace my templates onto
Spatula freezer paper, as it’s larger and fairly inexpensive.
Scissors
4. Prepare a piping bag with the PME 1.5 tip and the outline icing, stirring
the icing well first. Begin outlining the inner circle of the bottom collar.
By working from the center out, it is easier to remove any possible
mistakes as well as avoid inadvertently getting your hand in the work
you’ve already done. Use a damp (not wet), small paint brush to neaten
up your line; be sure it is round and as exact as possible. This line is
important, as your cake must fit inside. If it is too large, your border will
not cover the difference. If it is too small, your cake won’t fit inside and
may crack your collar. Outline the outer edge of the collar.
Julia notes: It is important to be consistent in rolling out your fondant. I roll
mine rather thin, and measure my collar accordingly. If you tend to roll yours
thicker—or add a ribbon or fondant border of some kind at the base of the
cake—this will affect the inner diameter of the collar.

5. Prepare a plastic bag with flood-consistency icing, first stirring the icing
well to help release air bubbles. Instead of using a piping tip, I prefer to
cut a small hole, as this helps to pop any remaining air bubbles while
you are piping.
Julia notes: I actually like to flood in a quiet room so that I can hear the little
air bubbles pop while I’m piping. I’m easily entertained!
Pipe with a back-and-forth motion, much like when coloring in a coloring
book, except not quite going up to the edges. Pipe a small section at
a time, using a scribe tool or small, damp paint brush to gently scoot
or swirl the icing to the outline. Don’t go all the way around in one big
circle! Do a small section, then go to the right of that area and do a small
section, then to the left of the original area. Alternate back and forth so as to avoid having a very noticeable line in
your collar. The drying icing will form a “skin” if you go all of the way around or pipe too large of a section.
Julia notes: Be sure you will be able to be uninterrupted until this is completed.
6. Immediately upon finishing, place the collar under

a desk-type lamp with a regular light bulb (one 7. Add the picot piping with a PME tip 1 around the
outer edge. Do this after the collar is dry, so as not
that generates heat) approximately 4 to 5 inches to delay getting the collar under the lamp.
above the collar. This will help the surface to dry
more quickly, more smoothly and with a very nice
sheen. After the surface is dry (20 to 30 minutes)
place the collar into a dehydrator on low heat for
several hours, if you wish. I also allow the collar to
cool inside the dehydrator before taking it out.
8. The top collar is done much the same way. With a PME tip 1.5, outline the inner circle first, making sure the line and its
connection are neatly done.
9. Next, pipe the small lines that will show in the

openings using some of the outline icing strained 10. Outline the outer edge of the opening over the top
of your lines with PME tip 1.5.
through the clean pantyhose (to avoid clogging Julia notes: I prefer to do one opening at a time, but if
the tip) using a you do, be sure to
PME tip 0. keep the tip you
aren’t using in
a damp cloth so
that it doesn’t dry
out and become
clogged.
11. After completing all four openings, outline the outer edge of the top collar. Again, by piping the outer line last,
you will be able to remove any errors more easily.

12. Flooding the top collar is slightly more difficult than the bottom collar, as piping around the openings will leave more
“wet ends,” making it tricky to keep all edges “wet” so as not to leave any lines as you complete the collar.
Julia notes: Be sure you will be able to finish without interruption! Take the dog out first or make sure the kids are happy.
13. Repeat steps 6 and 7, then set aside for 24 hours. If the collar is
not fully dry by this time, it may be humidity or unfortunately, it 14. There are two ways to release the collar
once it’s dry. First, you can take an offset
may be that the collar is not structurally sound. palette knife and gently slide it between
Julia notes: This hasn’t happened to me often, but it can occur, so, as the collar and acetate/plastic wrap,
with most things in cake decorating, it is good to have a spare or two. carefully working your way around.
15. The second way to release the collar once it’s dry is to remove the acetate/plastic wrap from the board and carefully place
it on the table. Gently slide the collar to the edge of the table, pulling the acetate/plastic wrap down. Then back onto the
table, turn the collar slightly, and take it just over the edge of the table again. Repeat until you’ve worked your way all the way
around, keeping one hand in the center of the collar to help prevent it from accidentally falling over the edge of the table.
16. Using royal icing, attach bottom collar to

fondant-covered board. Be sure to center 17. Using royal icing, attach the top collar to the
fondant covered cake. Again, carefully centering
carefully. Place the cake in the center. the collar on top of the cake is important,
Julia notes: Alternatively, you can place the cake, especially with the openings, which will allow the
then slide the collar down, but I find this more difficult. cake edge to show more if it’s off center. ACD
Julia Cullen, CMSA, started in the sugar craft world in 2006. She became addicted to
cake decorating after taking her first Wilton course, and later taught as a Wilton Method
Instructor for several years. She earned her title of ICES Certified Master Sugar Artist
in 2011. Julia has taught at the International Sugar Art Collection (ISAC) in Atlanta, GA,
and continues to enjoy learning and instructing. Her cake decorating passions include
Nirvana, stringwork and gumpaste flowers.
Weblink facebook.com/julia.m.cullen.1

TUTORIAL
Midnight MOLES
“This project is the second in a series that started with a piece called
Algernon and the Sky Pirates that I took to the ICES convention in
Albuquerque,” said Kelly Lance. “That piece was an overview shot of
a big world; this project narrows the focus. If you were looking down
on one of the roads in this world, you might see this mole-mobile
rolling along silently through the night.”
Get Kelly’s how-to for the wheels, moles, suitcases,

ferns and other details, plus final assembly information
online at ACD+ at AmericanCakeDecorating.com.

COMPONENTS: FOR DESIGN & ASSEMBLY:
Two 9" x 13" pans of rice cereal treats Ball tool
Kelly notes: Press down on the mixture to compact them for Bone tool
easier carving. When I want to do some really fine carving,
I put the cereal in a food processor first. The finer crumbs help Corn syrup
it pack tightly together. Needle tool
One two-layer quarter sheet cake, recipe of your choice Strip cutter
but suitable for carving Tracing wheel
Quarter sheet cake board Assorted brushes for dusting and painting
1/4" thick Lexan sheet, cut to 6" x 12" X-Acto knife
1-1/2" diameter Lexan tubing, cut four pieces to 4-3/4" Bamboo skewers
Kelly notes: I like Lexan for supports because it is translucent
and lends itself to the illusion that something is freestanding. Deep circle cutters
Use acrylic glue to attach the tube pieces to the sheet. Put some Kelly notes: The actual size you use will depend on the size of
weight on the pieces while they are setting up and leave them the wheel you make, but I used 2" and 3" cutters.
alone for 24 hours. When the finished design is assembled, Confectioner’s glaze
the tubes will rest on the finished board and be mostly hidden Arch cutters
behind the tires. Kelly notes: My favorites come from Lourdes Reyes. I used
2 lbs light brown fondant both sets of arched cutters on this project. Set #32 is taller and
1 lb light brown fondant thinner and #35 is shorter and wider. They make excellent
doors and windows.
1 lb light green fondant
Dusts: Bumble bee shimmer, chocolate brown, caramel,
1 lb or less of light brown fondant or gumpaste Turkish black, cut kiwi, topiary, rainforest and burnt orange
1/2 lb light gray fondant or gumpaste from The Sugar Art. Aubergine from Crystal Colors.
1/2 lb yellow gumpaste for windows Vodka
1 - 2 lbs light-gray modeling chocolate 22-gauge green, cloth-covered wire
24 oz black modeling chocolate
1 - 2 lbs of modeling chocolate leftover from other projects
4 - 6 c buttercream icing to fill and cover the cake
Wood grain molds
Kelly notes: I used some from Wilton, FMM and others.
FOR THE HOUSES
1. The cores for the rectangular houses and the hexagonal house are made from slices of rice cereal treats. The
hexagonal house is a 4" square with the corners trimmed down. The rectangular houses are made from pieces
that measure approximately 3" x 4", while the taller house is made from the same size core, just cut longer.
2. The circular “tin can” houses are made with cores of modeling chocolate and the cores for the roof pieces are all
carved from modeling chocolate.
Kelly notes: I find that I like carving the chocolate better than the rice cereal treats when I am aiming for four curved sides.
The conical roof pieces I just molded by hand, no carving necessary.

3. For the siding, I used a Wilton wood grain mold because it has the
boards already molded into the piece, so I didn’t have to apply them one
by one.
Kelly notes: When I am using a deeper mold like this one, I roll out my
fondant and then dust it gently with a puff of powdered sugar instead of
dusting the mold. If you dust the mold, the sugar can fill up the detail and
you lose it.
Press the fondant down into the mold and use a round sea sponge to
make sure that you get all the fondant all the way down into the mold.
Press gently and evenly all over the surface before you remove the
fondant from the mold.
4. Use gum glue to adhere

the fondant to all the cores. 5. For the hexagonal house, I had decided
that I wanted it to have huge windows
On the rectangular houses, on five sides. To do this, wrap the rice
place the siding so that the treats in yellow gumpaste, then cut out
edges where the boards the individual boards and place one on
meet are on the corners, the each side of each corner on the walls
way it would in real construction. If your board wraps around with windows. Side the remaining wall
the corner instead of ending on the line, it will look subtly “off.” as in step 4.
6. The “tin can” houses have some contouring around their sides. To get
that effect without having to drag a ball tool through the fondant, roll
out some very thin snakes of fondant and glue them around these cores,
then set aside to dry.
7. Roll out some gray gumpaste fairly thinly and cut

circles for the tops and bottoms of the cans. Glue 8. For the windows and doors, I used arched cutters
from Lourdes Reyes—#32 is taller and thinner and
these into place, then use the large end of your ball #35 is shorter and wider. The background of all the
tool to make some concentric depressions in the tops. windows is yellow gumpaste, to make it appear that
Kelly notes: Don’t worry about the bottoms because the windows were lit.
nobody is going to see them. Kelly notes: Generally I wait until the paste is dry
Once this dries, roll out some gray fondant fairly before I dust it, but I went ahead and dusted all the
thinly and wrap the cans, trimming it to fit both in yellow pieces with bumble bee shimmer dust. Since it
height and circumference. Use the small end of the is a shimmer dust, I only want it on the windows and
ball tool to push the fondant down into the creases not on the trim. Later, I went back with other colors to
created by the fondant snakes. give the windows more detail.
9. The doors were cut from fondant embossed with either wood grain or a diamond-plate metal texture, while the trim is
bits of gumpaste rolled into snakes and cut to fit the space.

10. The roof pieces include regular shingles, metal effect and a pinecone-like look. For the shingles, roll some brown
gumpaste fairly thin and impress with wood grain mold. Use a strip cutter to make horizontal then vertical cuts to
create squares, then attach to the roof.
Kelly notes: The size of the strip cutter will determine the finished size of the shingle. I generally do not use the smallest size for this.
Offset the shingle courses for a realistic effect, then apply a finishing trim to the corners. Dust the wooden shingled
roofs with chocolate brown and aubergine.
Kelly notes: On some of the roof pieces, I wrapped the shingles over the edges of the roof, which gives the house more of a
thatched feel.
11. For the hexagonal roof, roll out some gray modeling chocolate to about
1/2" thick. Keep the thickness in the center while rolling the rest of the
roof until it is about 1/4" thick. Set the hexagonal core on modeling
chocolate so that it is centered on the thickest part, then cut out a piece
that is approximately 1/2" larger on all sides.
12. Kelly notes: To make the fan blades, I created a

pattern in the gumpaste by lightly pressing the front 13. Cut six 4" pieces of 22-gauge green cloth-covered
wire and place one on each fan blade so that
end of Lourdes Reyes cutter #133 for the larger approximately 2-1/2" extends past the narrow end
section of the blade, and a smaller cutter from set #32 of the blade. Cut six strips of the diamond-plate
for the narrow end. Use a cutting wheel or X-Acto embossed gumpaste and cover the wire on the
to cut these pieces out. Make six pieces. You can also blade. Use a tracing wheel to add detail to either side
make your own fan blade shape. of the strip. When dry, dust with chocolate brown,
aubergine, and in some places, a bit of topiary.
14. The center of the

fan is a 1-1/2" circle of 15. Tosomefinishin burnt
the houses, dust some in topiary,
orange and some in chocolate
modeling chocolate, brown. Shade the darkest sections with
with a covering of wood aubergine. The windows that were previously
grain and diamond-plate dusted with bumble bee can be shaded around
embossed gumpaste. the edges with caramel, chocolate brown and
aubergine in ever-thinner bands, so that by the
time you add aubergine, it should be applied
with a fine liner brush just to the line where the
pane of glass meets the trim.
FOR THE CAKE BOARD

1. Roll out some light brown fondant, cut the road
base and apply it to the board. Roll out some
Kelly notes: The cobblestone road requires plenty of rocks. light green fondant and cut pieces for the grass
Make them from gray modeling chocolate rather than fondant verge. Apply these to the board with the edges
because the support tubes for the cake will need to be pressed overlapping the brown.
into the rocks, and the tubes, when slightly heated, will be
pushed right down through the chocolate.

2. Shape as many rocks as
required (it depends on the 3. Dust the rocks with
chocolate brown and 4. Dust the grassy verge all
over with cut kiwi and
size of the rocks and the size aubergine, then come then bounce the brush
of the road) and press them back with some topiary up and down with topiary
into the brown fondant, as an accent. Dust down and rainforest over the
fitting them together as in between the rocks with surface. Do this with some
necessary. chocolate brown and then chocolate brown in limited
aubergine, making sure that areas, then use a large, soft
the aubergine gets down blending brush to meld the
into the areas that should be colors. This gives the grass
the darkest. the look of velvet.
5. Paint the rocks with confectioner’s glaze to help blend the shading
colors. Scatter additional rocks and some mushrooms around the
scene as needed.
FOR THE CAKE
1. The underside of the “log car” is made from rice cereal

treats attached to a plexiglass support board. Using 2. Set the piece on the counter and use a sharp serrated
knife to trim the top, long edges of the rectangle
the treats from one of the 9" x 13" pans, cut a piece 6" to create a more rounded shape. Do not trim the
x 12" piece. Mark the piece where the support tubes shorter ends. Trim carefully around the holes for the
will need to pass through and cut the necessary holes. tubes so that the cereal treats don’t come away in big
chunks. If you do lose more than you intended to do,
you can always fill in with some icing.
3. To keep the carved cereal treats suspended upside down, melt some candy
melts and paint the underside of the plexiglass, then press the cereal treats
onto it and let the melts set up.
Kelly notes: Depending on whether or not your “car” will be tall enough that
people may see the underside, you can apply the bark while waiting for the melts
to set. It is easier to lay one whole piece of textured fondant over the bottom and
then cover over the edges with the fondant that covers the top of the log.
4. When the underside of the log has firmed up, stack

the cake on top of the plexiglass support, layering 5. When everything is stacked, put the cake into the
cooler to chill and firm up. Once ready to handle,
and filling as you choose. Keep in mind that you will trim the long edges until it takes on a domed shape,
be making a rounded log, so you can make do with leaving a spot that will resemble a knot in order to
narrower pieces the closer you get to the top. This log place the hexagonal house.
is shaped out of a single two-layer quarter sheet cake.

6. At this point, all the dwellings should be
completed and laid out the way you want them 7. Ice the entire
log with some
to be on the log. For this project, there were buttercream
three houses that went on the side or the front icing and pop
of the log, but the rest needed to sit on the top. it back in the
“Dry fit” your houses to see if you need to carve cooler to firm
out ledges so that your houses will sit level. up again.
8. Roll out two pounds of light brown fondant fairly thickly and cut out two circles large enough to cover the ends
of the log. Apply these with a bit of corn syrup.
9. Add a little more brown color to the fondant to make it a medium

brown. Roll this out fairly thickly and add a bark texture to it.
Kelly notes: I used a bone-type tool. I began at the short edges of the
fondant and drew in towards the center—it gives the ends the look of
ragged bark that way.
10. Apply the fondant to the log, in either sheets or

in strips. The bark will get more texture, so any 11. Fold the ends of the fondant under where they meet
the ends of the logs and let the fondant hang over
join lines won’t show. Use some corn syrup to just a bit. Use a knife, cutting wheel, wire brush or
help the fondant adhere to the underside. other tool of your choice to draw more bark texture
into the fondant, disguising any join lines.
12. When you are satisfied, mix some brown color with
some vodka and paint the bark. Do not paint the
Get Kelly’s how-to for the wheels, moles, suitcases,
ferns and other details, plus final assembly information
online at ACD+ at AmericanCakeDecorating.com.
ends. Use a dry brush and some powdered dust to
draw the growth rings on the ends.
Kelly notes: If you would like, wet the brush in vodka and
paint the lines after you have dusted them. ACD
Kelly Lance, CMSA, is a self-confessed art addict who, like so many

others, first discovered the sugar arts when working on a birthday cake for
her daughter. In 2008, she took the ICES certification test and since then
has served as an adjudicator and a test administrator. In 2010, she was on
Kathy Scott’s team on an episode of “The Ultimate Cake Off.” She is an
ICES-approved instructor and teaches both from her base in Gaston, OR,
and across North America. She’d love to hear from anyone who creates their
own version of this world that she developed.
Weblink frotusbush@gmail.com

TUTORIAL
WHITE COLLAR Design

“I wanted to show a simple design to encourage anyone
who might be intimated by working with royal icing,” said
Dawn Parrott. “Once they try it, they’ll see how easy it is
to integrate it into one of their own creations.”
1. First, some notes on collar dimensions. For this design,

the finished collar should be 1/4" smaller than the
diameter of the covered cake to allow it to sit on top of
the cake. If you want the collar to be slightly raised, you’ll
need a second “ring” that is 1/4" smaller than the inside
of your collar and goes to the diameter of your cake.
This support ring should be either 1/2" to 3/4" wide. You
will also need panels. These panels need to be the same
height of your cake and the length will be determined by
the pattern you have made in your collar. And keep in
mind, if you put a ring under your collar, you will need to
add height to your side panels to accommodate.
COMPONENTS:
6" x 3" round cake covered in fondant or royal icing
12" board
Dawn notes: This size allows for plenty of room for
2. Place your patterns under acetate or plastic sheets.
You may rub a little shortening for aid in the release
accent piping. of the finished projects, but just a very small amount.
3 c royal icing
Collar and initial patterns
Dawn notes: For this particular cake, I used a collar
pattern from The Art of Royal Icing by Eddie Spence
but you can easily create or find a design you prefer.

PME tips 1, 1.5, 2, 2.5
Acetate paper, I use the plastic protector sheets
Paintbrush
Water container 3. Pipe all outlines with stiff royal icing, using either tip 1 or
1.5. Do not go bigger, as this will change the finished effect.
Ribbon to complete the side of your cake board Allow to completely dry before doing the run in work.
Colors for icing if desired Dawn notes: Always have a
Dawn notes: I used a TruColor for the pink and soft paintbrush and small water
green for this project. container near when working
4 oz colored fondant for accent on sides of cake with royal icing. You never
inside the run out pieces know when you’ll have points
on your dots or need to
Desk lamp to aid in the drying of run out pieces
smooth out joining lines.

4. For the flood icing, add cold water to the stiff icing a drop or two at a time.
Dawn notes: I swoop a spatula through my icing and count to 10. If by the time
I reach 10, my icing has flowed back together, it is then ready for floodwork. I
also recommend having two prepared bags ready in case one jams.
Begin the floodwork by zigzagging the tip between your piped lines, being
careful not to hit the lines, which will cause your framework to crack
and break. Once about 1-1/2" are flooded, move to the other side of the
pattern and repeat. Continue moving between sections to complete the
floodwork. You do this to avoid any seams caused by the icing sitting too
long and starting to dry. The goal here is obtain a beautiful, smooth piece
of work. Once the collar is complete, set beneath a desk lamp to dry.
5. While the pieces are drying,

mark the cake board with 6. Center the cake on the
marked board. Mark the sides 7. Once the circles are in place,
pipe or paint your pattern,
your collar template to assist of the fondant circles that will then finish off with a small
in the placement of the feature the Victorian initial, bead border. Take this time
collar, side panels and piping or any pipework, flowers or to pipe a small bead border
accent details. painted design you choose. on the bottom to the cake
Setting the side panels away as well.
from the cake creates a
window into the design.
8. Once the floodwork pieces have

dried, use a 1 or 1.5 tip to pipe in the 9. Once all the pieces are dry,
pipe a line of icing all around
scrollwork or detail work. You can the top edge of the cake,
also pipe dots and patterns on the using PME tip 2. Place the
panels for more detail. Set aside to finished collar on the top,
completely dry. making sure to line it up with
the marks on the board.
10. Add the side panels by piping a drop line on the top and bottom edges
of a side panel. Hold it on an angle then attach the top of the panel to the
underside of the collar, lining it up with the marks on the board. Slowly
straighten your panel so it adheres to the board. Repeat this process for
the remaining panels.

11. With all panels in place, pipe bead borders where
the panels meet and along the entire bottom,
12. Using tip 2, add a drop line over the markings on
the board.
using tip 2. Dawn notes: There are many options for finishing
Dawn notes: I also piped a bead border around the design—you can add a second drop line to the
the circle to complete the look. board using a smaller tip, you can add a piped ring to
the top for additional height, you can do some drop
line work on the top of the cake inside the collars, or
make a royal icing gazebo, flowers, etc. ACD
Dawn Parrott, CWPC, is a certified working pastry chef, instructor and award-winning
cake designer based in Houston, TX. In September 2014 she won the Grand Prize in
the wedding cake competition at Oklahoma State Sugar Art Show and in April 2015 was
named one of North America’s top 10 cake artists by Dessert Professional magazine.
While she loves to work with many mediums, royal icing is definitely her passion. It is her
goal to make people want to pick up a piping bag and create works of art.
Weblink dawnparrott.com
ships worldwide
GLOBALSUGARART.COM
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INTL: 001.518.561.3039

Pastry Live 5 August 23-25, 2015 Atlanta, GA
Come make history!

Be part of the action with Pastry Live’s
audience awards and chocolate
tastings in which you get to vote.
Join us for an amazing three days!

August 23-25, 2015
Atlanta, GA
Come learn, be inspired, and
meet some new friends. Your
old friends are already here.
2014 Best Overall/Most Excellent Showpiece and

Best Sugar Showpiece: “Dragon Ball” for the theme Video Games
Team Captain Bill Foltz, with Cori Schlemmer,
of L’Auberge Casino Resort, Lake Charles, LA
www.PastryLive.com
TUTORIAL
PRIDE OF THE Vikings

“I am homeschooling my kids this year and my youngest was
doing a unit on the Vikings,” said Titia McLuckie. “We had such
fun with the unit—researching the art, the ships and some of
the myths—that I decided I wanted to do a Viking ship cake. It
was a fun cake to do and having my kids involved in the design
process definitely made it extra special.”
Get the how-to for creating the foaming waves

and the complete assembly instructions online
at ACD+ at AmericanCakeDecorating.com.

COMPONENTS: Airbrush
2 c royal icing Royal blue and turquoise gel paste for fondant and
isomalt for attaching components gumpaste waves
8" round cake dummy Americolor silver sheen airbrush color
12" x 9" oval cake, covered in blue fondant Lucks silver sheen airbrush color
18" round board, covered in blue fondant Airbrush colors: blue, green and black
20" square cake board, covered in tan fondant, wood- Vodka

grain texture and dusted Gel paste colors: yellow, black and red
Viking ship patterns Luster dusts: Aztec gold, silver
Titia notes: If printed on an 8-1/2" x 11" sheet, this will be at Small circle cutter
80% of the finished size required.
Medium square cutter
1-1/2 pd tan gumpaste
Craft knife
1/2 pd white gumpaste
Cardstock
1/2 pd each light blue, medium blue and dark blue gumpaste
20-gauge wire
1 fist-sized ball white Platinum Paste
18-gauge wire
Black food color pen
Small sharp scissors
PME Tips 1, 3
Wood-grain texture mat
Tip 199
Thin decorative border mold
Plastic wrap
Ball tools—small and tiny
Shortening
Wire brush tool
Paintbrushes—flat and round in various sizes
FOR THE RUN-OUT KNOT WORK SEA SERPENTS AND WAVES
1. Titia notes: I drew the knot work pattern free hand using
grid paper to make sure the design was evenly placed. 2. Carefully pipe the outline of the knot work over
the pattern using PME tip 1. Keep the piping tip an
Place the pattern on an 8" round cake dummy and inch or two above the pattern and allow the icing
cover tightly with cellophane. Lightly grease the to fall onto the cellophane. This allows for more
cellophane and brace the dummy with some towels or control and the ability to correct a line as it is being
blocks or brace in a cardboard box to prevent rolling. piped. Use a damp paintbrush to clean up the joins
and ends of the icing while it is still damp.

3. Allow the pattern to dry a few minutes before flooding using slightly
thinned royal icing. Turn the dummy so one side of the pattern is at the
top of the dummy and flood only the sections that are at the top. Allow
section to dry for a few hours and then turn the dummy so the next
section of the pattern is at the top of the dummy. Flood this section and
repeat drying and flooding until the whole pattern is filled in. Dry for
about 48 hours. Carefully remove cellophane from the dummy and
place on a soft surface with supports at the curves.
4. Airbrush the dry sea serpents with silver sheen airbrush color.
Titia notes: I used Americolor silver sheen airbrush color on the sea
serpents, which was a very pale silver color. The Lucks silver sheen
airbrush color, used on the face pieces, is a deeper silver color.
5. Paint the eyes on

the top face pieces 6. Very lightly airbrush
the waves with a
of the sea serpent mixture of five drops
in a gray-blue color. blue sheen, three
Airbrush the face drops silver sheen,
pieces a slightly one drop green
darker silver sheen and one drop
than the body. black airbrush color.
FOR THE VIKING SHIP
1. Cut two hull patterns out

of cardstock. Carefully 2. Use the hull pattern to
cut the hull out of tan
tape one of the patterns gumpaste. Gently fold
together, and bend it the hull in half, without
gently into a ship shape. creasing and putting the
dry sides together.
3. Press the loose edges together and smooth the seam. It is important that the join is
firmly sealed, but it doesn’t have to look too pretty, as it will be covered. Take the
taped pattern and place it inside the gumpaste hull. Place over supports, such two
pint jars, to dry. Once it is fully dry, carefully remove the paper pattern. Paint with
the wood color.
4. For the mast, roll out a slightly tapered rod of tan gumpaste, approximately 6" long
and 1/2" wide. Slide a 20-gauge wire through the center of the mast. Make second,
thinner rod, approximately 4" long. Allow both to dry completely, then paint with the
wood color.

5. Cut one sail out
of gumpaste. 6. Once the black is
dry, use Aztec gold
Titia notes: I used luster dust mixed
Platinum Paste with alcohol to paint
because it has a the inside of the
nice translucence. design on top of the
black. Place on a
Moisten the top of the gumpaste and roll it around the cloth or tissues and
shorter mast piece. Draw on the design using a food form into a curved,
coloring pen and a square cutter as a pattern. wind-filled shape.
7. Cut one floor from tan gumpaste and texture with wood grain mat. Cut a round hole in the center of the floor,
just large enough for the mast to fit. Allow the floor to dry, and paint with the wood color.
8. Make an
armature with 9. Form a ball out of tan gumpaste. Gently roll one
side to taper the ball to form a snout. Make a long
18-gauge wire cylinder of gumpaste for the neck and slide it up the
with support for wire. Attach it to the back of the head and smooth
the head and the out the join. Form the cylinder into a triangle at the
curved neck of end that will attach to the ship.
the dragon prow.
10. Use a very small ball tool to add eye sockets, and a tiny ball tool to form the serpent’s nostrils. Use a pair of very sharp
scissors to cut a mouth at the bottom of the snout. Form a very small rope of gumpaste for the tongue, cut it down the
center about a third of the length. Insert into the mouth with a little water.
11. Use a toothpick to poke

small holes on the side 12. Paint the serpent with the
wood color, and allow it to 13. Paint the decorative border
pieces with Aztec gold
of the head for the ears. dry. Roll a thin snake of tan mixed with a little alcohol.
Form two ears from a very gumpaste and press it into Titia notes: The gold covers
small cylinder of gumpaste the decorative border mold. more fully when it dries if the
tapered on both ends and Cut the gumpaste around color is dabbed on, rather than
flattened slightly. Pinch a part of the design that brushed on.
the ends to give it some tapers to a point. Adhere the
definition, then attach to the molded pieces from the face
head with a little water. of the serpent to the end that
will attach to the ship.

14. For the stern, form a tapered spiral, then partially flatten the top of the spiral
and form a thick triangle at the bottom which extends past the spiral for 2"- 3".
Use a needle tool to add designs on both sides of the flattened spiral. Allow
stern to dry completely before painting it with the wood color.
15. For the oars, make a long, tapered cylinder from tan gumpaste. Thin the cylinder toward the fat end, leaving a small ball of
gumpaste at the end. Roll out the small ball of gumpaste slightly and straighten the sides and form a flat point at the end.
Repeat. Allow to dry and then paint with the wood color.
TO ASSEMBLE THE SHIP
16. Cut a thin football shape out of the 12" x 9" oval
cake so the ship sits down a little. Make it lower on 17. Cover the cake in deep blue fondant.
Titia notes: This shade of blue is one part black, two
one end of the cake and higher on the other to give parts royal blue and four parts turquoise.
it some movement.
Be sure to gently work the fondant down into the crevice
carved out for the ship. Carefully place the ship in the
crevice, placing the prow of the ship higher than the stern.
18. Mold a decorative border for the outside edge and the keel of the
ship. Attach with a little water and paint with Aztec gold luster
dust mixed with a little alcohol. Once the gold has all dried, go
back and touch up any spots that may have been missed.
Titia notes: If you get a little gold paint on the “wood,” just paint over it
with more of the wood color—do not try to remove with alcohol.
19. Insert the floor into the

boat and attach with a little 20. Attach the mast to the
bottom of the boat, through 21. Add small bits of the
decorative borders at the join
isomalt. Insert the oars down the floor, with isomalt. Attach between the prow/stern and
into the fondant. the prow and the stern to the the border on the boat. Mold
boat with isomalt—make sure other decorative pieces to
to cut off the ends of the wires cover the joins and ends of
before attaching. the prow/stern on the inside
of the boat. Paint with Aztec
gold and a little alcohol.
22. Use isomalt to attach the shields to the gold border on the sides of the ship and around the bottom of the mast.
Put a little isomalt on the top of the mast and place the center of the sail on top.
Titia notes: Make sure that the painted side of the sail faces the front of the ship!

FOR THE VIKING SHIELDS
1. Cut the shields out of

tan gumpaste using a 2. Allow shields to dry completely,
then paint with a “wood” mixture 3. Paint the “metal” bits with a
mixture of silver luster dust,
small circle cutter. Give of brown gel paste, mixed with gold luster dust, a drop of
both sides a wood-grain a little yellow, black and red gel black gel paste and a little
texture with a texture mat paste thinned with alcohol. As the alcohol. The “paint” should
or texturing tool. shields begin to dry, keep brushing be fairly thick, but not clumpy.
in long strokes back and forth with Titia notes: The black gel paste
the “grain” of the wood. This will gives it a nice pewter look.
give them a nice wood look. Once Allow the painted shields to dry.
dry, use some tan gumpaste to ACD
make small spikes or mounds in the
middle of some of the shields.
Titia McLuckie is an ICES Certified Master Sugar Artist. Her passion for food and
baking began at a young age and led to degrees in culinary arts and food science and
technology. Since then, she has worked as a chef, cake decorator and pastry chef.
An award-winning cake decorator, Titia enjoys sharing her love of the sugar arts by
teaching, judging and demonstrating.
For 5% off Use Coupon code “Sugar”

LAST BITE
A comprehensive, practical guide to making, baking and decorating

cakes, Mich Turner’s Cake School by Mich Turner, MBE, covers
everything from mixing and baking, to building and layering, as well
as the final decorating touches. Mini-tutorials feature clear and
concise steps and the entire volume is replete with tips, tricks and
carefully explained techniques. This Strawberry Chiffon Cake is just
one of many delectable recipes included.
Get the recipe online at ACD+ at Credit: Reprinted with permission from Mich Turner’s Cake School by
AmericanCakeDecorating.com. Mich Turner, MBE (Rizzoli, © 2015). Photo Credit: Amanda Heywood.

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AMERICAN

Collins (Murdoch Books). | Photography: Nathan Pask.

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Callicious Cakes | Staffordshire, UK this cake via the digital edition.

Photography: Stringer Photography

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Photography: Adrian Williams

Tatiana shared her how-to

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Photography: Stringer Photography

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Photography: Stringer Photography

See details from this design via the digital edition.

NADIA FLECHA GUAZO

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