Alan Dunn's Sugarcraft Flower Arranging E-Book

Alan Dunn

• Herausgeber: IMM Lifestyle Books
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Seitenzahl: 233

Beschreibung

Celebrate deliciously and beautifully! Master sugarcraft sculptor Alan Dunn shows how to create festive cakes decorated with cascading, lifelike floral arrangements built from sugarpaste. Make your cakes the centerpiece of any celebration with romantic flowers, lush foliage, brightly colored fruits, and fantasy butterflies. Alan's easy-to-follow directions, accompanied by stunning, mouthwatering photographs, cover 35 floral varieties and 18 charming cake designs for weddings, anniversaries, birthdays, christenings, holidays, and more. If you're looking for the ultimate guide to sugarcrafting, this book won't fail to impress.

Leseprobe

Published 2018--IMM Lifestyle Books

www.IMMLifestyleBooks.com

IMM Lifestyle Books are distributed in the UK by Grantham Book Service, Trent Road, Grantham, Lincolnshire, NG31 7XQ.

In North America, IMM Lifestyle Books are distributed by Fox Chapel Publishing, 903 Square Street, Mount Joy, PA 17552, www.FoxChapelPublishing.com.

© 2018 by IMM Lifestyle Books

Produced under license.

The patterns contained herein are copyrighted by the author. Readers may make copies of these patterns for personal use. The patterns themselves, however, are not to be duplicated for resale or distribution under any circumstances. Any such copying is a violation of copyright law.

Print ISBN 978-1-5048-0090-7

eISBN 978-1-6076-5519-0

For a printable PDF of the patterns used in this book, please contact Fox Chapel Publishing at [email protected], stating the ISBN and title of the book in the subject line.

Library of Congress Cataloging-in-Publication Data

Names: Dunn, Alan, 1972-author.

Title: Alan Dunn’s sugarcraft flower arranging / Alan Dunn.

Description: Mount Joy : IMM Lifestyle Books, 2018. | Includes index.

Identifiers: LCCN 2017050082 | ISBN 9781504800907

Subjects: LCSH: Cake decorating. | Sugar art. | Artificial flowers.

Classification: LCC TX771.2 .D848 2018 | DDC 641.86/539--dc23

LC record available at https://lccn.loc.gov/2017050082

We are always looking for talented authors. To submit an idea, please send a brief inquiry to [email protected].

This book has been published with the intent to provide accurate and authoritative information in regard to the subject matter within. While every precaution has been taken in the preparation of this book, the author and publisher expressly disclaim any responsibility for any errors, omissions, or adverse effects arising from the use or application of the information contained herein.

CONTENTS

Foreword

Introduction

Equipment

Techniques

Recipes

FLOWERS

Rose

Heart’s desire orchid

Christmas orchid

Begonia

Hosta

Orchid tree

Hoya

Spider chrysanthemum

Pitcher plant

Poppy seed head

Lily of the valley

Stephanotis

Gardenia

Golden gardenia

Trailing succulent

Smilax

Cotinus

Ginger lily

Sandersonia

Full-blown rose

Egyptian fan orchid

Eyelash orchid

Spider orchid

Dischidia

Cosmos

Zinnia

Anemone

Hydrangea

Beetleweed

Ornamental grasses

Rangoon creeper

Brunia seed heads

Geraldton wax plant

Blue butterfly bush

Masdevallia orchid

Bromeliad foliage

Tillandsia

Golden spider lily

Wire vine

Winterberry

SPRAYS & ARRANGEMENTS

Crescent spray

Circle game

Between the lines

Metallica

Silver trail posy

Gothica

Anemone arrangement

Red rose arrangement

French connection

Ruby rose bouquet

Tangerine dream

CAKES

Cosmos cake

White wedding

Crowning glory

Valentine

Ruby rose

Butterfly cake

Purple plumage

Chasing rainbows

Objects of desire

Green fingers

Gilded lily

Silver trail

Summer breeze

Exotica

Templates

Substitutions

Tools & Materials

Suppliers

Acknowledgments

FOREWORD

BY KERRY VINCENT

Alan Dunn is in a class of his own. He breathes different air when it comes to the art of sugar flowers and has no peer. I have seen Alan’s transition from tentative artist to full-blown global icon truly earning his place as one of the great ones. Our professional relationship and personal friendship spans 21 years, even prior to the publication of his first book Wild Flowers, so I have seen it all. A man who has dedicated his career to not only producing exquisite sugar forms of a variety of flora but also to obsessing that those renditions be as accurate as man can make them. His eye forever watching, he has gathered flowers and foliage from all over the world in his quest for perfect replications and new challenges. Dunn spends time researching in botanical gardens, street side, in the woods, nurseries, and flower shops to gather specimens that he studies for accuracy. These examples are ripped apart and dissected to see how the flowers and foliage tick. There is always great attention to detail and much discussion driven by the need to strive for excellence.

As a result of this intense examination, we see stunning replications of sugar flowers that are eagerly adopted by his fans and friends in pursuit of their own standard of artistry. This extends from the hobbyist to celebrated visible sugar artists and cake designers who wouldn’t be caught dead without an Alan Dunn reference book on their shelves.

Alan has been a fortunate man starting out as an intern with Tombi Peck, his mentor, friend, and teacher. Blossoming under her tutelage, Alan assisted when Tombi co-published Decorative Touches with a third party, then Peck and Dunn co-published titles together from then on. Later, colleague Tony Warren, another gifted floral artist, joined them and the trio collaborated in subsequent publications.

Twenty-five books later, Dunn is probably one of the world’s most prolific authors in the cake decorating niche. Fan power has opened the door to invitations to share and teach his techniques in multiple countries; a short list includes the United States, Russia, Holland, Japan, and Australia, where we were principal presenters together. Working with Alan is always fun; he is consistently gracious and never selfish when sharing his art, so much so that I invited him to be key presenter at the Oklahoma State Sugar Art Show—the most prestigious competitive event in the US where he has joined a small club of illuminati. I have also awarded him the Oklahoma Medal of Honor for his incredible skill, artistry, contribution to the sugar arts, and his overall humanity.

I know that Alan Dunn’s Sugarcraft Flower Arranging will reach a new generation of artists who will be similarly inspired by the thoughtful work that has come before.

Having Alan Dunn in my life has been a pleasure and a privilege both professionally and personally and I look forward to more great works in the future.

KERRY VINCENT

Career highlights: After thirteen seasons, Kerry Vincent is still the judge to fear on Food Network Challenge. Add to that Last Cake Standing 1 & 2 and the Great Australian Bake Off. Kerry hosts Save My Bakery, a makeover series, directs and stages the Oklahoma State Sugar Art Show, is a freelance writer, author, presenter, and world traveler. She is also the high-profile national ambassador for Ovarian Cancer Australia and was inducted into the International Cake Exploration Société Hall of Fame in 2004 and Dessert Professional Hall of Fame in 2010.

INTRODUCTION

For me, floral arrangements and sprays are an essential part of designing and decorating a cake for a special celebration or a wedding. I find that many of the people I teach are happy to make sugar flowers but find choosing what flowers and foliage to use, and figuring out color combinations, difficult, thus making the art of flower arranging a challenge. I actually enjoy the process of coloring and arranging more than making the sugar flowers—it is the process that drives my passion for creating floral displays for cakes and exhibitions, as well as for my books.

When I first started cake decorating and making sugar flowers—more than 20-odd years ago now—I was taught by Margaret Morland and Tombi Peck not only how to make sugar flowers, but also how to assemble them into sprays. The crescent-shaped spray and posy that they taught me have been invaluable—they have been the basis of many of the sprays I have used on cakes over the years. After my initial introduction to wiring sprays of sugar flowers, I then went on to buy as many floristry and flower-arranging books as I could. Following many of the guidelines in these books, which were often aimed at commercial florists, I have been able to gradually create a style of my own. I have gone through many trends and phases over the years, often using masses and masses of flowers and foliage to create large displays. I now prefer to use fewer elements in my designs as the process of creating elaborate designs can prove to be too time-consuming to reproduce regularly, and the finished result is often way out of the price range of a paying customer.

I am still very inspired by the work of florists and flower arrangers, and still get great pleasure from buying floristry books, visiting florists, and seeing the odd fresh flower demonstration, not to mention buying fresh flowers to replicate in both sugar and cold porcelain. However, it is important to remember that sugar and cold porcelain flowers have their own appeal, and they have to work well as part of a cake design.

In this book, I have presented a variety of designs to guide both the novice and the more experienced flower maker to create interesting sprays, bouquets, and arrangements. I hope that my work will inspire you to create and develop a unique and individual style. Many of the floristry guidelines that I have picked up along the way are used in these designs, but remember they are only guidelines! Essentially, you are just trying to create a balanced design that pleases the eye. You must remember that sugar flowers often will just not bend and fit into many of the more regimental fresh floral designs, so it is best to allow your creative juices to flow and react to your gut instinct when creating floral designs for cakes.

EQUIPMENT

There is a huge array of equipment available, but you actually just need a few basic pieces. I have also added some information here on ribbons, wires, beads, etc.

NONSTICK BOARD AND FONDANT ROLLING PIN

These are essential pieces of equipment. Avoid white boards as they strain the eyes too much. Some boards can be very shiny, making it difficult to frill petals against them. If this is the case, simply rough up the surface using some fine sandpaper prior to use or alternatively turn the board over and use the back, which is often less shiny. I always use a thin layer of allvegetable shortening rubbed into the surface, removing most of the excess with a dry paper towel—this stops the paste from sticking to the board, and will also make you check each time to ensure the surface is clear of any excess food coloring.

SCISSORS, PLIERS, AND WIRE CUTTERS

For the projects in this book, you need three pairs of very sharp scissors: one curved, one fine-tip, and one regular pair. Fine-tip embroidery and curved scissors are very useful for cutting fine petals, thread, and ribbons. Larger floral scissors are handy for cutting wires. Small needle-nose pliers are essential. High-quality pliers work best—they are expensive but worth the investment. Electrical wire cutters are useful for cutting heavier wires.

TWEEZERS

It is important to use fine-angle tweezers without ridges (or teeth). They are useful for pinching ridges on petals and for holding very fine petals and stamens. You will also find them helpful when arranging flowers to push smaller items into difficult, tight areas of an arrangement or spray.

FOAM PADS

These are great to place petals and leaves on while you soften the edges—especially if you have hot hands that tend to dissolve the petals as you are working with them. Prior to buying this product check that it has a good surface, as some have rough, open-textured surfaces that will both tear the edges of your petals or leave marks on them. I like either the large blue pad called a Billy’s Block or the yellow CelPad.

WIRES AND FLORAL TAPE

Wires are available in many colors—I buy mostly white paper-covered wires, preferring to color or tape over as I work. The quality varies among brands. The most consistent in quality are the Japanese Sunrise Floral Wires. These are available from 35-gauge (very fine but rare) to 24-gauge (thicker). Floral tape is used in the construction of stems and bouquets. They contain glue that is released when the tape is stretched. I am quite fussy about which tape I buy. I mainly use Lionbrand Nile green tape. White, beige, brown, twig, yellow, pink, and dark red can also be useful. Some of the brands of tape are very harsh to work with—they have a strong, crayon-type smell and should be avoided at all costs, since they will hurt your fingers as you work with them.

TAPE SHREDDER

Some cake decorators hate this gadget. I find that if it is used properly, it saves a lot of time and energy. The tool contains three razor blades to cut floral tape into quarter-widths. I have a couple of tape shredders and have removed two blades from one of them so that it cuts the tape into halfwidths. It is often best to take a cotton swab and rub a tiny amount of cold cream on the blades as well as on the lid that presses against the blades—this will help the tape run smoothly against the blades as it can often stick due to an excess of glue left behind from the tape. It is also wise to remove any excess buildup of glue from the blades using needle-nose pliers, and also to replace the blades regularly. Handle with care at all times.

Modeling tools: (left to right) Dresdon tool (Jem), metal ball tool, small tweezers, large tweezers, cutting wheel (PME), Dresdon tool (PME), CelStick, scalpel (PME), needle-nose pliers, fine-tip scissors

PAINTBRUSHES

High-quality, synthetic brushes or syntheticblend brushes from art stores are best. I use mainly short, flat, not too soft bristle brushes for applying layers of food coloring dusts to flowers and leaves. It is best to designate specific brushes for certain colors so you don’t have to wash them after each use. A fine paintbrush is a paintbrush that comes to a pointed tip. You can purchase them at any art or craft store. (They are the same as what is used to paint on canvases.) I use finer sable or synthetic-blend brushes for painting fine lines or detail spots onto petals.

FLOWER CUTTERS

Flowers may be made using templates or freestyle techniques; however, the use of plastic or metal cutters will add speed and consistent accuracy to the shapes you create. I mostly use metal cutters since I can alter their shape if required to suit flowers other than the one it was intended to make. Many of the more interesting leaf shapes with serrated edges and intricate designs are available in plastic.

LEAF AND PETAL VEINERS

These are made from food-grade silicone rubber. They are very useful for creating natural petal and leaf texturing for sugar work. The molds are made using mostly real plant material to give the finished sugar flower a realistic finish. As with the flower cutters, there is a huge selection of commercial veiners to choose from.

STAMENS

There is a vast selection of commercial stamens available from specialty stores or online (see Suppliers here). I mainly use fine white and seed head stamens, which I then color using powdered colors.

POSY PICKS

These are made from food-grade plastic and are available in various sizes. They are used to hold the handle of a spray or bouquet of flowers into the cake. The food-grade plastic protects the cake from contamination from the wires and floral tape used in the construction of the floral spray. Never push wires directly into a cake.

MODELING TOOLS

Ball tools

These are available in plastic or metal. I find the latter more useful since the weight of the tool means that less effort is needed to soften/thin the edges of the paste. Use the tool to rub or roll the edge of the paste, positioning it half on the petal/leaf edge and half on your hand or foam pad on which the petal is resting. They can also be used to “cup” or hollow out petals to form interesting shapes.

PME cutting wheel and sharp scalpel

This cutting wheel is rather like a double-sided small pizza wheel. It is great for cutting out quick petals and leaves and also for adding division lines to buds. A sharp scalpel is also essential for marking veins, adding texture, and cutting out petal shapes, too.

Dresden/veining tool

The fine end of this tool is great for adding central veins to petals or leaves, and the broader end can be used for working the edges of a leaf to give a serrated effect or a “double frilled” effect on the edges of petals. Simply press the tool against the paste repeatedly to create a tight frilled effect or pull the tool against the paste on a nonstick board to create serrations. The fine end of the tool can also be used to cut into the edge of leaves and to cut and flick finer serrated-edge leaves. I use a black tool by Jem for finer, smaller leaves and flowers, and the larger yellow PME tool for larger flowers (see Suppliers here).

Ceramic silk texture random veining tool

I use a smooth ceramic tool from for curling the edges of petals and hollowing out throats of small flowers, as well as using it as a mini rolling pin. The silk veining tool is wonderful for creating delicate veins and frills to petal edges. You can use a CelStick as an alternative to the smooth ceramic tool. For the silk veining tool, use either a plastic petal veiner/friller from JEM (modeling tool 12), or a satay stick cut to size and sanded with fine sandpaper.

Fondant and gum paste modeling sticks (CelSticks)

There are four sizes of these small rolling pintype tools. As well as being great for rolling out small petals and leaves to create thick ridges, the pointed end of the tool is great for opening up the center of “hat”-type flowers. The rounded end can be used in the same way as a ball tool to soften edges and hollow out petals. The CelCakes & CelCrafts brand CelStick can be substituted for virtually any mass-market fondant and gum paste modeling stick set.

GLUE

Nontoxic glue sticks can be bought from office suppliers or art stores and are great for attaching ribbon to a board edge. Always make sure that the glue does not come into direct contact with the cake. I use a nontoxic hi-tack craft glue to attach stamens to the end of wires. I feel that no harm is being done sticking inedible items together with another inedible item. However, the glue should not come into direct contact with the sugar petals since it will dissolve them.

NON-DRYING MODELING CLAY

This is basically the soft modeling material that I used to play with as a child. It can be bought in blocks of various colors from art stores and online. This medium should be placed into a vase or onto a thin board to protect the cake surface. The medium stays fairly firm but soft, which is great for arranging sugar flowers into as the flowers can be removed and rearranged if needed.

PAPER TOWEL RING FORMERS

These basic formers are useful for drying petals that require a cupped shape. The open loops allow the gum paste to breathe so it dries faster than if placed in a plastic container. To make, cut strips from paper towels and twist back onto themselves, then tie into a loop. Larger formers can be made by cutting a paper towel sheet in half diagonally and then twisting—these are useful for much larger petals that require support while drying.

RIBBONS, BRAID TRIMS, AND PAPER-COVERED WIRES

These are an essential part of cake decorating—they are used simply to decorate the base of a cake, to edge a cake board, or wired into loops to add into floral displays. They provide the decorator with a very quick and effective addition to a cake design. The color of most of these can be changed to match the color of the flowers you are using on the cake. Simply rub an anti-bacterial wipe into some petal dust and then run it quickly and firmly along the ribbon to change its color. This can be very useful when you’re working late at night and are unable to take a trip to a store to buy more ribbon. I keep a supply of pale ribbons that can be altered easily. Double-colored satin ribbon can also be very useful—it means you always have something that could be suitable for the design you are working on. Buying ribbons and trims can become quite addictive, but it does make life easier if you have a variety of colors and textures to work with.

OTHER DECORATIVE ITEMS

These include beads, metallic wires in various strengths and colors, beaded wires, decorative floral mesh, and crimped reel wires. There are also things like colored sisal fiber, which can be used to hide the mechanics of an arrangement or even rolled into balls or formed into heart shapes, and so on, and tied with decorative metallic wires that can be added to your displays, too. I enjoy adding these elements to my sprays and arrangements. They all catch the light well and add interest. However, care must be taken to use these items on pieces that will be removed from the cake prior to cutting. There has been a trend in recent years of pushing crystals and beads directly onto the surface of an iced cake. While this can look pretty, it is an extremely dangerous practice.

TECHNIQUES

These are some of the more important techniques that you’ll use time and time again when making sugar flowers and cold porcelain flowers.

WIRING PETALS AND LEAVES

1. Knead a piece of gum paste and form roughly into the shape of the petal or leaf you are making. Press it down against a nonstick board to flatten it slightly. Use a CelStick or fondant rolling pin to roll the paste, leaving a ridge for the wire. Try to create a tapered ridge, angling the pin slightly so that the ridge is thicker at the base of the petal or leaf. The thickness and length of the ridge will depend on the size of the petal/leaf you are making. There are also boards available commercially that have grooves in them that create a similar ridged effect when the paste is rolled over them.

2. Cut out the petal/leaf shape using a scalpel or plain-edge cutting wheel, leaving the ridge to run down the center. If you are using a cutter, lift up the shape and place it onto a light dusting of cornstarch and then press firmly with the cutter. Scrub it against the paste and the board so that the shape remains slightly stuck in the cutter. This will enable you to rub the edge of the cutter to create a cleaner cut edge, removing any fuzzy bits!

3. Moisten the wire very slightly—too much moistness will result in the paper coming off the wire and also slow down the drying process. Hold the ridge firmly between your finger and thumb, and hold the wire in the other hand very close to the end of the wire that is being inserted into the shape. Push the wire in gradually so that it supports a third to half the length. Continue forming the shape following the instructions for each individual flower or leaf.

WORKING WITH GUM PASTE

The paste should be well kneaded before you start to roll out or model it into a flower shape; otherwise, it has a tendency to dry out and crack around the edges. This is an air-drying paste so when you are not using it, make sure it is well wrapped in a plastic bag. If you have cut out lots of petals, cover them with a plastic bag.

EGG WHITE

You will need egg white to stick petals together and to alter the consistency of the gum paste if it is too dry. There are commercially available edible glues which can be used instead, but I find that these tend to dissolve the sugar slightly before allowing it to dry, resulting in weak petals.

ALL-VEGETABLE SHORTENING

I use this to grease the nonstick board and then wipe it off with a dry paper towel. This not only conditions the board, but also removes any excess food coloring from the previous flower-making session. You can also add a tiny amount of shortening to the paste if it is very sticky; however, you must not add too much as it will make the paste short, and slow down the drying process too much. Don’t leave too much shortening on the board or greasy patches will show up on the petals when you start to apply the dry dusting colors.

CORNSTARCH BAG

Cornstarch is a lifesaver when the gum paste is sticky. It is best to make a cornstarch bag using disposable diaper liners! Fold a couple layers of liners together and add a good tablespoon of cornstarch on top. Tie into a bag, then use it to lightly dust the paste prior to rolling it out and also sprinkle on petals and leaves before they are placed into a veiner.

COLORING

Listed below are the forms of food coloring available to the cake decorator. If you are attaching an edible decoration onto a cake, check that the food coloring is edible and not just nontoxic.

Paste food coloring

I prefer to work with white or a very pale base food coloring and then create a stronger finished color using powdered colors. I add paste food coloring into gum paste to cover the cakes, but even then I am not a huge fan of strongly colored cake coverings. It is best to mix up a small amount of sugar or gum paste with paste food coloring, then add this smaller amount to a larger amount of paste—this prevents you from adding too much color to the entire amount of paste.

Petal dusts

These food-coloring dusts are wonderful for creating very soft and also very intense coloring to finished flowers. The dusts can be mixed together to form different colors or brushed on in layers, which creates more interest and depth to the finished flower or leaf. White petal dust can be added to soften the colors—some cake decorators add cornstarch; however, that weakens the gum content of the dust, often causing a streaky effect to the petal. If you are trying to create strong, bold colors, dust the surface of the gum paste while it is still fairly pliable or at the leather-hard stage. A paint can also be made by adding clear alcohol (isopropyl) to the dust. This is good for adding spots and finer details. You can also add these dusts to melted cocoa butter to make a paint that is wonderful for painting designs onto the surface of a cake.

Liquid colors

These are used to color royal icing since they alter the consistency of fondant, gum paste, and marzipan, but they can also be great to paint with. I use a small selection of liquid colors to paint fine spots and fine lines to petals.

GLAZING

Glazing can give a leaf or petal a more realistic appearance. Don’t glaze flowers too heavily as this can make them look unnatural. The methods described below are ways of glazing.

Steaming

Using powdered colors on sugar flowers often leaves a dry-looking finished flower. This can be changed to create a waxier appearance and also help to set the color to stop it from leaving marks on the surface of the coated cake. Hold each flower in the steam from a boiling teakettle for a few seconds, or until the surface turns slightly shiny. Take care not to get the sugar too wet since it will dissolve fairly fast. Allow the flower to dry before wiring into a spray. If you are creating a velvety finish to a rose, for instance, then the steaming process can be used. You will then need to re-dust the flower. This technique will help an additional layer of dust to stick to the surface, giving the desired velvety effect.

Edible glaze spray

There are several ways to glaze leaves. Recently I have been using an edible glaze spray. This glaze can be used lightly for most leaves or sprayed in layers for shiny leaves and berries. You need to spray in a well-ventilated area and wear a filter mask.

Confectioners’ varnish