1、LXXLXXLXXXLXXXLXXXLXXLXXPhotography by STEVEN MARK NEEDHAM XLXXIllustrations by XCHRISTINE M ATHEWS LXXXLXXLXXXLXXXLXXJOHN WILEY & SONS, INC .XLXXThis book is printed on acid-free paper.Copyright 2007 by John Wiley & Sons, Inc. All rights reservedPublished by John Wiley & Sons, Inc., Hoboken, New Je

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9、brary of Congress Cataloging-in-Publication Data:Garrett, Toba.Professional cake decorating / Toba Garrett ; photography by Steven Mark Needham ; Illustrations by Christine Mathews.p. cm.Includes bibliographical references. ISBN-13: 978-0-471-70136-1 (cloth) ISBN-10: 0-471-70136-X (cloth)1. Cake dec

10、orating. TX771.2.G36 2006 641.86539-dc22I. Title.2005035002Printed in the United States of America10 9 8 7 6 5 4 3 2 1To Phoenix, our love ContentsviiixiIntroduction History of Cake Decorating Lesson 1BASIC PIPING SKILLS Lesson 2FLORAL PIPING SKILLS Lesson 3INTERMEDI ATE PIPING SKILLS Lesson 4ADV AN

11、CED BORDER SKILLS Lesson 5THE ART OF WRITING Lesson 6RO YAL ICING PIPED FLOWERS Lesson 7RO YAL ICING DESIGN SKILLS Lesson 8THE ART OF ICING A CAKE Lesson 9HAND MODELING SKILLS Lesson 10MARZIP AN AND CHOCOL ATE MODELING Lesson 11ADVANCED RO YAL ICING PIPING AND DESIGN SKILLS 2243446687888102130142158

12、Lesson 12ROLLED ICING DESIGN SKILLS Lesson 13P ASTILLAGE CONSTRUCTION Lesson 14GUMP ASTE FLOWERSBASIC FLORAL SKILLS Lesson 15ADV ANCED GUMP ASTE FLOWERS Lesson 16MINI ATURE CAKES AND DECOR ATED COOKIES Lesson 17CAKE BOARDS , C OLOR CHARTS , P AINTING , AND MORE TECHNIQUES Lesson 18174186192206224232

13、240CAKE AND CONFECTIONAR YLesson 19RECIPES Appendix 1P ATTERNS Appendix 2MEASUREMENTS GALLER Y258289331339341Bibliography Index IntroductionPsional study guide that addresses the needs of a reemerging and growingrofessional Cake Decorating was developed as a book on the subject thatis standardized,

14、thorough in scope and technique, and a highly profes-industry. Over the past two decades, many of my professional and vocational students have expressed an interest in one book that teaches, explains, and guides them through the difficult and specialized techniques used in the cake decorating indust

15、ry. I am happy to say that Professional Cake Decorating is such a book.Drawing on thirty years of training, traveling, teaching, and running an in- dependent cake decorating business, I unfold the secrets of cake decorating and teach this intricate art using more than 200 step-by-step and portrait p

16、hoto- graphs, more than 125 drawings and patterns, more than 35 tested recipes, a gallery of the most spectacular cake and confectionery art imaginable, and a plethora of personal hints and proven techniques.This textbook is designed for the serious study and mastery of cake deco- rating. The studen

17、t can expect a guiding hand to take them from the most basic techniques of piping cake borders and roses to designing a tiered cake featuring advanced embroidery piping, Australian string and bridgework, overpiped and cushion lattice techniques, a three-dimensional pastillage structure, hand- sculpt

18、ed sugar roses, full-size fruits and vegetables made from marzipan, beau- tiful handpainted flowers, or a life-size water pitcher decorated with stunning piping and embroidery work that is filled with exquisite and exotic gumpaste flowers.Each lesson ends with a review that reinforces the concepts a

19、nd techniques presented and helps prepare the student for the upcoming lesson. Students can study in a classroom, kitchen environment, or independently at their own pace, as the book helps develop their professional habits and skills. Each chapters practical review provides students the opportunity

20、to continue practicing the skills and steps necessary to master the techniques.An Instructors Manual (0-471-78197-5) for Professional Cake Decorating is available to qualified adopters. This manual is designed to aid the instructor in delivering instructions in a clear and easy manner. It assists in

21、 designing lessonsviiiixINTRODUCTION to fit students needs, presents helpful hints and exercises for struggling students, and provides an answer key to each End-of-Lesson Review. The Instructors Manual also provides steps and techniques for organizing and designing a curricu- lum for the length of t

22、ime allocated to the cake decorating portion of students training. Professional Cake Decorating is also designed for use by industry pro- fessionals such as bakers, cake decorators in small communities and large store chains, specialty shop owners, and independent cake designers.For the small bakery

23、, this book can be an invaluable resource for rejuvenat- ing cake decorating skills. There is always a market for cakes that are profes- sionally designed and executed. A professional training guide such as this book empowers bakers and gives them the confidence and the ability to try new tech- niqu

24、es. Professional Cake Decorating can be useful in dramatically improving the overall look and design of cakes.In larger establishments such as supermarket chains, Professional Cake Dec- orating can be a valuable training guide and an excellent resource for the baker and decorator. Supermarket traini

25、ng is relatively short and specific to the types of cakes produced. The supermarket artist is often limited in the designs used at the facility. However, customers often want a variation on a theme or something slightly different that may require a technique the decorator does not possess. This is a

26、 perfect opportunity to reach for a book that provides immediate assis- tance and quickly conveys the skills necessary to produce cakes to fulfill the cus- tomers request. The improved cakes can increase sales and offer the customer more choices.Professional Cake Decorating is also an invaluable gui

27、de to the established professional who is skilled in a wide range of techniques. I refer to other texts when custom designing for a client, thinking of new designs or options for a photo shoot, or reviewing an unusual technique. A book such as this is helpful when a technique is unfamiliar or when a

28、 project requires unusual skills, such as painting on a cake and knowing to mix gel or paste colors with liquid whitener to bring out the pastel shade of the food color. The icing on the cake is thus a canvas on which the artist can express ideas, no matter his or her skill level.Professional Cake D

29、ecorating is also a baking text with a wide range of cake, sugarcraft, and icing formulas designed for small and large kitchens. Cake decorating books often lack recipes because the focus of the book is on how things look rather than how they taste. This book emphasizes the importance of good recipe

30、s, their functionality, and their scope. The reader has many recipes to choose from to apply their decorating skills.Cake decorating is an art and requires consistent practice, just like learning a language. Skills must be studied and practiced to master them. Professional Cake Decorating is the per

31、fect start. I hope this textbook is the one decorators, from students to professionals, reach for to learn, practice, and master cake dec- orating skills.Acknowledgments Without the generous help and support of the following people, this book could not have been written. I owe them all a great deal

32、of thanks and sincere grati- tude. They are Nigar Hale; Julie Kerr; Scott Amerman; Amy Zarkos; Steven Mark Needham, my photographer; Christine Mathews, my illustrator; and Tina Cinelli, my chief assistant.I would also like to thank Rick Smilow, president of the Institute of Culi- nary Education, for

33、 providing kitchen space; Mary Bartolini, for scheduling my space and offering a true helping hand; and my pastry colleagues, includingxINTRODUCTION Nick, Andrea, Michelle (thanks for the chocolate recipe), Cara, Faith, Jeff, Gerri, Rebecca, Margaret, Scott, Reeni, Kathryn, Melanie, Chad, and Barbar

34、a from Florida. I also wish to thank the officers of the Institute of Culinary Education, including Steve Tave, Richard Simpson, and Ed Varites, and all the staff of the school for their constant support.Thanks to my organizational families, including the Confectionery Arts Guild of New Jersey and t

35、he International Cake Exploration Socit, for their continued support and love. To Maria McEvoy, Rosemary, Wally, Colette, Fran- cisco, Janet, Toni, Marilyn (Mo), Jeanette, Jeannine, Stephanie, and to my many, many friends and colleagues in the cake and confectionery art communitytoo many to name and

36、 listthank you all.Special thanks to my husband, James Garrett, my lifelong partner; our beloved son, Phoenix; to my dad, George Edward; my beloved mother, Sarah Elizabeth; my sisters, Chicquetta and Valerie; and my brother, Kartrell; to my in-laws, James and Jean Garrett; and to Laurie, George, Sha

37、ron, Candy, my aunt Estelle; Jackie and family; and Jean and family.And many, many thanks to the individuals instrumental in my development. These teachers come from many parts of the world. They are Elaine MacGre- gor, Eleanor Rielander, Geraldine Randlesome, Marite de Alvarado, Julie from Deco Cak

38、e & Candy School, Joan Mansour, Marie Sykes, Pat Simmons, Tombi Peck, and Pat Ashby.I would also like to acknowledge the chef instructors who reviewed the pro- posal and manuscript for Professional Cake Decorating. They are Mark Cross, Capital Culinary Institute of Keiser College; Alison Dolder, Cla

39、rk College; LynneA. Johnson, Connecticut Culinary Institute; and Cheryl Miranda, Milwaukee Area Technical College.Finally, thanks to my agent, Wendy Lipkind.History of Cake DecoratingThe Development of the Cake Ctials, honey cakes or sweet breads made from rich fruit and nuts wereakes were very diff

40、erent during the time of the Roman Empire than theyare today. Those cakes were actually very thin bread. For wedding nup-used as sacred objects. These sweet elements were offered up to the gods and crumbled over the brides head by her groom so she would be blessed with abun- dance and fertility.Wedd

41、ing guests picked up pieces of the broken cake to keep for good luck. Besides being seen as a charm of good fortune, the cake was also a symbol of fruitfulness. The Romans carried this tradition to Great Britain in 54 b.c., and it became part of local custom. Eventually, the crumbling of cake turned

42、 into the crumbling of, specifically, sweet wheat cakes. After the crumbled sweet wheat cakes were gone, the guests were supplied with sweetmeats, a mixture of nuts, dried fruits, and almonds. This was called confetto, and the tradition continued for hundreds of years. Eventually, the tradition was

43、replaced with rice, colored pa- per, flower petals, and birdseed as new types of confetti.In medieval England, the earliest form of a wedding cake was small spiced sticky buns stacked in a towering pile. Folklore has it that if the bride and groom could kiss over the pile, it brought a lifetime of h

44、ealth and prosperity.Decorated cakes made their first appearance during the reign of Great Britains Elizabeth I. They did not debut as wedding cakes, however, but as ex- traordinary centerpieces at banquets. Many were adorned with almond paste, which was known as marchpanes and dates back to 1494.Br

45、ides pie was popular at weddings. Elaborate ones were savories and con- tained fillings of oysters, pine kernels, lambstones, sweetbreads, and spices. Some contained minced meat or just mutton. The crust of the pie, however, was elaborately decorated. By the seventeenth century, brides pie was repla

46、ced with the bridal cake made from flour, fat, yeast, dried fruits, almonds, and spices.Cakes became popular in London society at this time, especially Oxford- shire and Banbury cakes, which have a high proportion of flour to fat and sugar. xixiiHIST OR Y OF CAKE DECORATING Ale yeast was used as a r

47、ising agent. These cakes contained ingredients similar to those of their predecessors, such as dried fruits and spices, but the new recipes yielded a more breadlike mixture. By 1733, the Christmas cake or rich fruitcake was actually called plum cake. This cake quickly became a standard item. One ear

48、ly recipe called for currants, flour, cloves, cinnamon, mace, nutmeg, blanched and ground almonds, citron, lemon and orange peel, rosewater, ale, yeast, cream, and butter. Modern fruitcake recipes have not changed drastically. Some recipes omit the yeast and incorporate beaten egg whites. Some incor

49、porate raisins and additional nuts.In America, during the eighteenth century, rich or dark fruitcakes were not as popular. Pound cake and plain white cake were the staples of American cake making. White cakes were generally prepared as thin layers with a soft white frosting. The white cake represent

50、ed purity and an affinity with the bride. A black cake was a fruitcake, iced in a hard icing (such as royal icing), and more likely to be called a wedding cake. Both white and black cakes were elaborately decorated in the English style to disguise the type of cake inside.By the late 1890s both white

51、 and black cakes were commercially successful, with the white cake becoming the typical bridal cake and the black cake was the grooms cake. This was the American tradition, which still pertains in some parts of the country, but it did not carry back to England. The bridal cake today can be a white,

52、pound, carrot, spice, German chocolate, or cheesecake, but the grooms cake is almost always chocolate, with a red velvet cake currently the most popular.The Development of Icing More than two centuries ago, icing evolved from simple glazes. Usually the foundation of the glaze was rosewater syrup. Th

53、is syrup was brushed on either a cooled cake or on a cake that just came out of the oven. The cake was then re- turned to the oven on low temperature and allowed to dry. As the cake dried, an opaque sheeting of white icing formed over it.White icing was a lavish display in itself, and its whiteness

54、was a direct indi- cator of the quality and expense of the sugar from which it was produced. White icing on a wedding cake two hundred years ago symbolized purity, virginity, and extreme wealth.England has imported sugar since the Middle Ages. By the middle of the sixteenth century, sugar was readil

55、y available in a variety of qualities. By the mid-seventeenth century, double-refined sugar was available for purchase. Con- fectioners sugar did not appear until the latter part of the nineteenth century.From the seventeenth to the nineteenth centuries, the term icing usually meant that the cake wa

56、s marzipan. Marzipan was chiefly a celebration food, considered both a substance and a delicious confection. As a substance, it was paired with sugar paste (also known as rolled fondant), and it could be shaped, sculpted, or molded into beautiful centerpieces. It could be rolled, cut, stamped out, o

57、r dried, and candied fruits or spices could be added to it. It could also be iced with glaze and dried in a warm oven before further garnishing. Icing contin- ued to evolve until the mid- to late nineteenth century, when royal icing was ac- cepted and the art of piping began.The early stages of suga

58、r paste (rolled fondant) developed as early as 1558. The recipe included rosewater, sugar, lemon juice, egg white, and gum traga- canth, then called gum dragon. This vegetable compound is still used in com- mercial rolled fondant today.The term double icing was used in the mid-eighteenth century for covering a cake with almond-flavored icing (not marzipan) followed by a coating of sugarxiiiHIST OR Y OF CAKE DECORATI