Digital Edition - January 2025

FREE CAKE DECORATING MAGAZINE

10 Exclusive
TUTORIALS
DETAILED AND EASY TO FOLLOW

NEWS about
Pasta Model

An INTERVIEW
with Aimée Ford

CI SHOW talk with

Melanie Underwood

GOAL Setting for

CAKE Artists

BOOST your
CAKE business
EDIBLE
flowers and
vase!

Let’s show Most awaited When DREAMS ARTISTS' favourite

your TALENT BOOK come TRUE cake TOOLS
revealed

www.saracinodolci.de www.saracinodolci.co.uk www.saracinodolci.com

 PAOLO ZOLLA CREATED BY PETITEPIVOINE_CAKES
DIRECTOR SARACINO WAFER PAPER & CAKE PAPER

CREATED BY STEPH MCNAB USING SARACINO

Did you have a good holiday season? I We will also be present in Warsaw at NEW SUGAR PASTE - PASTA COVER
hope so. Expo Sweet (February 16-19) and in
Dortmund at Cake and Bake (March 22-
In Italy, the culinary tradition is very 23), where you can meet our top
diverse, but always of great quality. collaborators and taste our products.
Sweets are a must, perhaps decorated
with the splendid Saracino products! It We will present the new SARACINO
might take some effort to get back in 2025 catalogue, which is already
shape and be ready to meet our clients at available from our retailers and agents.
industry trade fairs, where you can find Don’t hesitate to check it out! You will
us! find many useful tips for your creations.

In January (18th – 22nd), we will be at Happy New Year!

“SIGEP” in Rimini, one of the most
important international trade fairs Paolo Zolla
showcasing the best innovations in pastry
and ice cream – specialties where Italian
companies like Saracino create true
excellence.

We will collaborate with “Conpait,” the

Italian pastry chefs’ association,
presenting our latest products at our
stand and in Conpait’s demonstration
area. We will use the new Cover Paste to
create ceremonial cakes and the new
colours of modelling paste (light brown
and grey) for fantastic colour variations.

CREATED BY
CREATED BY SUGAREDBYSHAHANA USING
KITCHENWITHLOVELEICESTER
SARACINO WAFER PAPER
USING SARACINO PASTA MODEL
2
 Welcome
CREATED BY TIERS_OF_JOY_NJ
USING SARACINO PASTA MODEL

to ‘We Love Pastry’ magazine

EDITOR’S LETTER

Welcome to the revamped edition of

Saracino We Love Pastry!

I am thrilled to kick off the New Year

2025 with a fresh look and an exciting
new direction for the magazine. This
issue represents our hard work and
dedication to bringing you not just
tutorials, but a rich variety of content,
including fascinating interviews,
insightful blogs, practical advice, and a
platform to showcase your incredible
creations and celebrate amazing
achievements within our community.
Unlike previous issues, this one is not themed. Instead, we’ve chosen to focus
on techniques and tips designed to help you push your skills further and
achieve even greater results. Every single tutorial in this issue has been
thoughtfully crafted by our team of exceptional and talented artists. Their
contributions go beyond step-by-step instructions—they’ve shared advice,
creative ideas, and valuable feedback to make this magazine better than ever.

This magazine is created by cake makers, for cake makers. It’s a collaboration
I am immensely proud of, and I’m so grateful to the team who brought this
first issue of 2025 to life. Their dedication and passion are evident in every
page, and I hope you’ll enjoy exploring the content as much as we enjoyed
creating it.

As we are very active on socials, especially on Instagram, please make sure to

mention the name of the Saracino product you’ve used when tagging us. This
way, we can share your stunning creations and showcase to our followers
what can be achieved using specific Saracino products.

Please don’t forget to share the magazine with your friends! It’s completely
free of charge and always available for download whenever you need it.

Thank you for your continued support, and here’s to a sweet and successful
2025 for everyone!

Warm wishes,
FLOWER COMPOSITIONS CREATED BY KATARZYNKA SZTUKA CUKROWA USING
Sylwia xx SARACINO PASTA BOUQUET

Editor, Saracino We Love Pastry BOTH RECEIVED GRAND PRIX IN THE FLORAL COMPOSITION CATEGORY AT THE EXPO
SWEET AND CAKE AND SWEETS FESTIVAL 2024 IN POLAND
 Contents Get in touch
SARACINO ITALY
[email protected]
Boost Your Cake Business with social media and a
website: tips, pros, and cons
SARACINO UK
Meet the winner and Win a Saracino surprise box worth [email protected]
€100!

An exclusive interview with Aimée Ford SARACINO USA

[email protected]

Pasta Cover- cover your cake with perfection

SARACINO SPAIN
Supreme Food Flavourings and why you will love [email protected]
them
SARACINO FRANCE
Talk show with Melanie Underwood - head of Cake
[email protected]
International & Bake International shows

Interview with Zoe Hopkinson about 2024's most SARACINO GERMANY

awaited book [email protected]
NEW Pasta Model - an important update to share with
you SARACINO POLAND
[email protected]
Goal Setting for cake artists: start the year with a clear
plan by Cristina Arévalo
SARACINO GREECE
The tool I cannot live without [email protected]

Cake International 2024: a sweet success for Saracino SARACINO HONG KONG
Alicia Zheng
When dreams come true... - an exclusive interview with [email protected]
Lelde Stabulniece

Let’s show you the talent - introducing winners from

Cake International 2024
Please bear in mind that we cannot be held
responsible for the accuracy of the results of
Poverty vs. abundance - collaboration by Doreen Zilske the tutorials provided. While we strive to
share helpful and reliable content, the outcome
may vary depending on individual techniques,
You made it and we proudly share your creations! ingredients, and equipment used.

Where to buy Saracino products in your country

Our Amazing Contributors

TORTA OD SNOVA, LE DOLCI MAGIE DITATY, CAKE IS LOVE BY JENNY, DIYA CAKES IT,
LOULOU SUGAR CAKE DREAMS, MI'CAKERY ATELIER & CAKE DESIGN, SWEET SUGAR
MAKES, PODIVJANI MUFFIN SUGAR ARTIST, CAKE GARDEN, AIMÉE FORD, MELANIE
UNDERWOOD, ZOE HOPKINSON, CRISTINA ARÉVALO, LELDE STABULNIECE
4
The exciting tutorials in this issue

Butterfly Fairy Cheeky Chick Origami Tulips Steak Pie Cake

Valentine Treat Leprechaun Blossom Enchanted Cottage

Join our
Email List
Want lots of free
goodies? Subscribe and
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UBS
| S something fresh every
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IBE

Vanilla Cupcakes Crazy Cow

IBE
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UBS
 Butterfly Fairy

6
We Love Pastry Saracino Cake Decorating Magazine | January 2025

Marica Miltenović
Lazarevic
I'm Marica, a passionate cake topper artist with over 15
years of experience crafting edible art. It all began by chance
on my son's seventh birthday.
Ordering a cake wasn't an option that year, so I decided to create one
myself.

With no idea where to start, I leaned on my amazing group of friends—

the "LePetitPies"—who became my biggest supporters and cheerleaders.
That first cake ignited a spark. Fifteen years later, creating cake toppers
remains my retreat, my happy place. Life has changed in many ways, but
my passion for bringing joy to life's most precious moments through
edible art has only grown stronger.

Today, I'm on a mission to empower passionate cake decorators looking

to stand out with intricate, personalized designs. It's a privilege to
@tortaodsnova
contribute to the joy that cakes bring, and I'm grateful for every
opportunity to connect with others through this delightful art form.

AI-Generated Cakes: A Spark of Inspiration

Lately, AI-generated cake designs have been showing up all over clients' Pinterest boards—stunning, pixel-perfect
creations that make you wonder, "How am I supposed to recreate that?"

For this tutorial, I experimented with some AI-generated images myself and created two beautiful designs. But did I try
to replicate them exactly? Not at all. Instead, I took inspiration from one image’s wings, combined it with the pose of
another, and turned it into something that felt truly mine.

AI might generate flawless images, but it can never capture your passion, your unique creativity, or that special spark you
bring to every project. Most importantly, how you connect with your clients is something no AI can replicate, and it's
priceless.

In this tutorial, you’ll craft a beautifully detailed Butterfly Fairy cake topper. From her graceful kneeling pose to the delicate
pastel wings that seamlessly blend soft shades of blue, pink, yellow, orange and purple, every element is thoughtfully
designed.

The wings, with their soft watercolor effect and subtle gold accents, bring an ethereal, almost magical quality to the piece.
You’ll also learn to sculpt her expressive face, with sparkling brown eyes, detailed features, and soft, whimsical makeup
that perfectly captures her innocent charm.
This project will add a unique and enchanting touch to your next cake design!
 INGREDIENTS EQUIPMENT
Pasta Top - to cover your 8 gauge florist wire
cake: White (support for the body)
Pasta Model: Rose beige 22 gauge florist wire
Flower Paste by Arati Mirji (support for the wings)
Cake Paper 3cm diameter styrofoam
Pearl Powder: copper ball
Edible Glitter: gold Modelling tools
Liquid Shiny Glaze Cutting tools
Cake Gel Various brushes
Lustre Dust: white
Powder colour: blue, pink,
yellow, orange, purple,
white, brown and green
CMC Powder (for edible
glue)

ake
r acino C
a e
Use S to achiev
pe r rs
Pa colou
deep

Cake Paper will absorb

moisture, so ensure the wings
are secured with 22 gauge
wire.

8
STEP 1 Start by sketching the outline of your STEP 2 Cut out each wing along the edges, STEP 3 Place a piece of 22 gauge wire along
fairy wings on Saracino Cake Paper. You can leaving an extra 5-7mm of space along the the inner edge of each wing. The extra space
either use a pre-made template, freehand inner edge, cutting outside the lines, about you left along the inside edge will help
your own, or print the wings directly onto 7cm in length. This extra part will be used to secure the wire in place. Apply a thin layer of
cake paper using edible colours. Add veins secure the wire. edible glue along the wire and fold the
that mimic those found on butterfly wings to cake paper over the wire to sandwich it inside
enhance the natural, delicate effect. the wing. Press gently to ensure it sticks and let
the glue dry completely.

STEP 4 Using a soft, dense brush apply a STEP 5 For the blue and purple sections, STEP 6 Mix copper Pearl Powder with alcohol
light yellow powder colour to the wings, use a separate brush to avoid mixing the to make a smooth, workable paint.
blending in gentle circular motions. colours. Blend them well for a soft
Gradually layer orange and pink, continuing watercolour effect.
to blend as you work.

STEP 7 Using a thin brush carefully outline STEP 8 The copper veins stand out STEP 9 Finally, use a brush to lightly dust
the veins on the wings. beautifully against the pastel colours, adding white Lustre Dust over both sides of the wings
dimension and detail to the wings. Let the to give them a beautiful shimmering effect.
wings dry fully before proceeding to the
final touches.
STEP 10 The wings now have a beautiful, soft STEP 11 Use about 45g of Pasta Model and STEP 12 Create a dip in the center of the torso,
sheen that complements the pastel colors and shape it into a sausage about 5cm in length. defining the underbust line. This step sets the
copper vein details, completing the enchanting Flatten the top slightly to form the base of the foundation for shaping the chest area and
fairy wing look. fairy's torso. further refining the upper body.

STEP 13 With two fingers, work on the top STEP 14 Use a tool to create a slight STEP 15 Continue to refine the shape, working
of the torso to shape the neck and shoulders. indentation in the center of the chest area. carefully to maintain symmetry.
Ensure the neck is at least 2cm long at this This will help mark the placement of the
point, as you can adjust the final length breasts and prepare for further detailing.
during assembly later.

STEP 16 Define the collarbone. STEP 17 Twist two 18 gauge wires together STEP 18 Further sculpt the torso by slimming
and insert this wire structure through the the waistline to create a natural figure. Add a
centre of the body as shown. slight curve to the back to create a natural
posture.

10
STEP 19 Bend the wires extending from the STEP 20 Roll two pieces of Pasta Model (25g STEP 21 Attach the first thigh onto the wire
torso forward about two centimeters from each) into tapered shapes to form the thighs. support extending from the torso. Smooth out
where they emerge. the seams where the leg meets the body.

STEP 22 Attach both thighs to the torso. STEP 23 Shape the lower leg into a long, STEP 24 Attach the bottom of the lower leg at
Position the legs to create a kneeling pose, tapered form. The top should represent the the knee, following the natural curve of the
with the thighs angled forward and calf, while the thinner end forms the foot leg. The foot should point outward slightly,
the knees bent. and ankle. while the calf blends smoothly with the thigh.

STEP 25 With both legs attached, make final STEP 26 To create the dress, roll a piece of STEP 27 Next, take two smaller pieces of your
adjustments to ensure your fairy stands in a Flower Paste by Arati Mirji. Gently pull and prepared paste and cover the lower back of
balanced kneeling pose. tear along the longer edge to create an the figure.
uneven, worn effect. This creates a textured,
natural look for the dress.
STEP 28 Roll another piece of flower paste, STEP 29 For the head start with a 3cm STEP 30 Create a basic head shape with a
using the same technique to create an uneven styrofoam ball and wrap a piece of Pasta rounded top and a slightly pointed chin. Make
edge. Start draping it over the figure from the Model around it. indentations for the eye sockets.
front, covering the chest, and finish at the
back. Lift the edges here and there to add
movement.

STEP 31 You can now see the slight dip STEP 32 Using a small tool, define the nose STEP 33 Use a hook tool to make shallow
where the eyes will be and the contours of by gently pressing and shaping the centre of indentations where the eyes will go. Then,
the head forming. the face. press along the top of the indentations to
define the upper eyelids.

STEP 34 Carefully smooth the surface of the STEP 35 Using a fine tool, cut a curved line STEP 36 Use a flat-ended modelling tool to
eyes. for the mouth, giving your fairy a gentle, gently flatten the ends of the cut. This
neutral expression. prepares the mouth for shaping the lips.

12
STEP 37 Shape the lips by gently pressing STEP 38 Refine the mouth and chin area by STEP 39 Examine the face to ensure the
around the line and smoothing the area carefully shaping the lips and smoothing the cheekbones are well-defined. Use your fingers
around them. area around them. or a small sculpting tool to refine the shape
gently, enhancing the overall balance and
symmetry of the face.

STEP 40 Shape the chin into a soft curve that STEP 41 Smooth and refine the facial STEP 42 Shape two small teardrop pieces of
blends with the face. features, ensuring all transitions are soft and paste for the ears, aligning the bottoms with
natural, especially around the eyes, mouth, the base of the nose. Press them onto the sides
and chin. of the head, and use a small ball tool to create
the inner ear details.

STEP 43 Take a piece of Pasta Model and STEP 44 Using a cutting tool, carefully carve STEP 45 Paint the eye whites using white
press it down gently to fit snuggly on the lines to create the appearance of hair powder colour mixed with alcohol.
scalp. strands, working from the hairline back.
STEP 46 Once dry, add the irises in the centre STEP 47 Add layers of green to the irises, STEP 48 Paint the pupils using a small brush
of each eye, using darker shades to define the blending the colours for a smooth transition. in the center of the irises.
edges for depth.

STEP 49 Use edible powder colours to apply STEP 50 Paint the eyelashes and add the STEP 51 Use a small brush to apply a tiny
soft makeup around the eyes, starting with a final makeup touches. This step brings out amount of Cake Gel to the eyes. This gives the
light base shade on the eyelids. Add a the magic in your fairy’s gaze and adds eyes a lifelike shine.
slightly darker colour to the outer corners for charm.
depth and a natural look.

STEP 52 Carefully apply Saracino Liquid STEP 53 Attach the head to the body, tilting STEP 54 Roll two 8g pieces of Pasta Model.
Shiny Glaze to the lips for a glossy finish. it slightly for a soft, expressive look. Make Shape each into an elongated cone, thicker at
This adds a soft, natural shine and really sure it’s angled downward to match her the top for the shoulder and tapered at the
brings your fairy to life. kneeling pose—this will give her that bottom for the hand. Thin the wrist area by
wistful, magical charm. gently rolling your fingers over it, and mark
the elbow area for definition.

14
STEP 55 Flatten the tapered end to create the STEP 56 Attach the left arm to the body. It STEP 57 Attach the right arm closer to the
hand. Cut out and indent the thumb and should be placed slightly further out, with the body, resting the hand gently on the base.
mark the rest of the fingers. hand touching the base. Use a silicon tool to blend the joints where the
arms meet the shoulders.

STEP 58 This positioning creates a natural, STEP 59 Roll Pasta Model thinly and cut it STEP 60 Add more strips as needed to create
balanced pose, making the figure look as if into strips for the hair strands. Begin placing the updo, using edible glue to secure them in
it’s leaning forward slightly, with a soft and them on the head, starting from place.
elegant posture. the back.

STEP 61 Push the wire into the paste to You can gently bend the cake STEP 62 Add edible glitter to the figure's
insert the wings into the back of the figure. paper wings to create a more dress, focusing on the edges and key areas to
Be sure to cut off any excess wire and angle TIP natural, dynamic look, mimicking highlight the fabric. Lightly brush some glitter
the wings carefully to avoid damaging the the slight curve of real butterfly onto the wings as well to create visual interest
figure. wings. and a magical shimmer.

Your fairy is now complete—ready to spread

her magic and dazzle everyone who sees her!
 FACEBOOK INSTAGRAM TIK TOK PINTEREST WEBSITE

BOOST YOUR CAKE

BUSINESS WITH SOCIAL
MEDIA AND A WEBSITE:
TIPS, PROS, AND CONS

Are you a cake maker running a small

business, teaching cake classes, or selling your
WHY SOCIAL MEDIA?
beautiful creations to customers?
Social media platforms are highly visual and
easy to use, making them ideal for showcasing
Whether you're a home baker or run a larger
cake creations. Whether you’re posting a
cake business, having a strong online presence
picture of a vibrant birthday cake, sharing a
is essential these days.
video of you decorating an elegant wedding
cake, or offering baking tips, social media helps
Social media and a website can be powerful
bring your cakes to a wide audience.
tools to showcase your cakes, connect with
customers, and grow your brand. But, like all
But each platform has its own strengths and
tools, they come with pros and cons, and it’s
target audience. Let’s dive into how to use
important to know how to make the most of
each one effectively.
them!

Let’s explore how you can use platforms like

Instagram, Facebook, TikTok, Pinterest, and
your own website to boost your cake business.

16
 FACEBOOK INSTAGRAM TIK TOK PINTEREST WEBSITE

HOW TO USE FACEBOOK FOR YOUR CAKE BUSINESS:

Facebook is a more community-focused platform, and it works well for building relationships with customers,
especially locally. Facebook groups and business pages are great tools to build a dedicated audience.

CREATE A USE FACEBOOK POST REGULAR POST REELS

BUSINESS PAGE GROUPS UPDATES

A business page looks Join local community Whether it’s sharing a Reels are prioritised in
more professional and groups, wedding planning cake gallery, a live video Facebook’s algorithm,
allows you to list your groups, or baking forums. of a baking class, or a post meaning they have a
services, prices, and Share your cakes, give about upcoming offers, greater chance of being
contact details. It also advice, and answer keep your followers shown to a wider
allows you to run ads if questions. This can drive updated on what’s new. audience, even those who
you want to. business without feeling don’t follow your profile
like you’re just or page. This increases
advertising. your visibility and allows
you to reach potential new
followers.

PROS OF FACEBOOK:
COMMUNITY TARGETED LARGER POSTS FREE PLANNER
ENGAGEMENT ADVERTISING ALLOWED

Facebook is great for You can run ads to target You can write longer Using a planner on
building a loyal customer specific people, such as posts, which is great for Facebook lets you
base through groups and local brides or birthday explaining your cake schedule posts in advance,
regular posts. party organisers. services in more detail. ensuring consistent
content delivery and
saving time. It helps
maintain a regular
presence and provides
insights into the best times
to post for optimal
engagement.

CONS OF FACEBOOK:
LESS VISUAL THAN DECLINING ORGANIC
INSTAGRAM REACH
Facebook is more text- Posts on business pages
heavy, and its algorithm often reach fewer people
often favours posts with unless you pay for ads or
more engagement get lots of interaction
(comments, likes).
 FACEBOOK INSTAGRAM TIK TOK PINTEREST WEBSITE

HOW TO USE INSTAGRAM FOR YOUR CAKE BUSINESS:

Instagram is a visual-first platform, and it's perfect for showcasing cakes, tutorials, and behind-the-scenes
moments. With over a billion users, it’s one of the best platforms for cake businesses to build an audience.

POST BEAUTIFUL, USE INSTAGRAM REELS FOR SHORT ENGAGE WITH

HIGH-QUALITY STORIES VIDEOS FOLLOWERS
PHOTOS
The key to Instagram Stories are great for Reels are Instagram’s Like, comment, and
success is stunning showing day-to-day answer to TikTok, respond to messages. The
imagery. Make sure to use activities like baking, allowing you to share more you interact with
natural light, focus on deliveries, or prepping for short, fun videos. Use your followers, the more
sharp images, and create a events. They disappear them to show off cake- loyal they’ll become.
cohesive theme with your after 24 hours, so it’s a decorating tips, time-lapse
photos. quick way to keep your videos of the baking
followers engaged. process, or before-and-
after shots of your cakes.

PROS OF INSTAGRAM:
HIGHLY VISUAL LARGE AUDIENCE VARIETY OF
CONTENT

Perfect for showing off Great for reaching new Use posts, Stories, Reels,
your cake designs. people, whether local or and even Instagram Live
worldwide. to engage your audience
in different ways.

CONS OF INSTAGRAM:
TIME-CONSUMING ALGORITHM CHANGES

Consistent posting and Instagram often changes

engagement can take up a how content is shown,
lot of time. meaning your posts might
not reach everyone
without paying for ads.

follow
follow us
us on
on
instagram
instagram for
for
more
more

18
 FACEBOOK INSTAGRAM TIK TOK PINTEREST WEBSITE

HOW TO USE TIKTOK FOR YOUR CAKE BUSINESS:

TikTok is all about short, snappy videos – and it’s growing fast! It's particularly popular with younger audiences,
so if your cakes appeal to that crowd, TikTok is a fun way to show off your skills.

CREATE SHORT, USE POPULAR MUSIC BE CREATIVE PARTICIPATE IN

FUN VIDEOS TRENDS

TikTok videos are short TikTok allows you to add TikTok thrives on fun, Jump on viral challenges
(15 seconds to 3 minutes), trending music to your creative content. Show the or trends and add a cake-
so keep them light and videos, which can increase cake decorating process, related twist. It’s a fun
engaging. Share your visibility. funny mishaps, or a way to get noticed!
decorating techniques, behind-the-scenes look at
show off cake designs, or a big cake order.
even do a quick Q&A with
your followers.

PROS OF TIKTOK:
VIRAL POTENTIAL CREATIVE FREEDOM APPEALS TO
YOUNGER
AUDIENCES
TikTok’s algorithm allows TikTok’s format If you’re targeting
for quick viral success. A encourages creativity. You younger customers (or the
single popular video can can experiment with fun parents of kids!), TikTok
gain thousands (or ideas and gain attention is a perfect platform.
millions) of views. fast.

CONS OF TIKTOK:
SHORT LIFESPAN REQUIRES VIDEO SKILLS
FOR CONTENT
TikTok videos can go viral If you’re not comfortable
but also fade quickly. It’s with video editing or
important to keep up with being on camera, TikTok
trends and post regularly. might be tricky to master
at first but it gets easier
with experience.
 FACEBOOK INSTAGRAM TIK TOK PINTEREST WEBSITE

HOW TO USE PINTEREST FOR YOUR CAKE BUSINESS:

Pinterest is a visual search engine where people go to find ideas and inspiration – perfect for cake makers! It’s
often used by people planning events, so it’s ideal for sharing wedding cakes, birthday cakes, and party desserts.

CREATE BOARDS USE HIGH-QUALITY, PIN CONSISTENTLY LINK BACK TO YOUR

FOR CAKE PIN-WORTHY IMAGES WEBSITE
CATEGORIES
Like other platforms, Always make sure your
Have different boards for Pinterest is all about
consistency is key. Try to pins link back to your
wedding cakes, novelty beautiful, inspiring photos.
pin new content regularly, website or social media.
cakes, cupcakes, etc. Make sure your pins are
and re-pin related content This helps convert people
People often search clear, well-lit, and visually
from others to keep your from browsers to buyers!
Pinterest for specific types appealing.
boards fresh.
of cakes, so organising
your content helps people
find what they need.

PROS OF PINTEREST:
HIGHLY VISUAL GREAT FOR SEARCH LONGER CONTENT
LIFESPAN
Pinterest is perfect for People use Pinterest like a Pins have a long life and
cake businesses because search engine, meaning can continue driving
it’s all about images. your cakes could be traffic to your site long
discovered by people all after you’ve posted them.
over the world.

CONS OF PINTEREST:
TIME-CONSUMING NICHE AUDIENCE
Pinning content regularly While Pinterest is great for
and managing multiple inspiration, it may not
boards can take time. drive as many local sales
unless you target event
planners or local search
terms.

20
 FACEBOOK INSTAGRAM TIK TOK PINTEREST WEBSITE

Do I Really Need a
Website?
While social media is fantastic for connecting with customers, a website gives your
business a professional touch. Think of it as your online storefront where customers can
see your full cake portfolio, read about your services, and even place orders.

PROS OF HAVING A
WEBSITE:
PROFESSIONAL MORE INFORMATION EASIER FOR GOOGLE SEARCH
APPEARANCE CUSTOMERS TO VISIBILITY
ORDER
A website makes your You can include details You can set up a contact With a website, your
business look established about your services, form or shopping cart so business can appear in
and trustworthy. pricing, and customer people can order cakes or Google searches, helping
reviews, which can be book classes directly you attract new customers.
harder to showcase on through your site.
social media.

CONS OF HAVING A WEBSITE:

COST AND SEO KNOWLEDGE
MAINTENANCE REQUIRED

Websites can be expensive To get your website to

to set up and require rank well on Google, you
ongoing updates. need to understand search
engine optimisation (SEO).
This can be a learning
curve.

SARACINO DOLCI - ENG SARACINO DOLCI - IT SARACINO DOLCI - DE

FINAL THOUGHTS
Social media and a website are powerful tools for any cake business, but they come with
their own challenges. Instagram, Facebook, TikTok, and Pinterest each offer different
benefits, so choose the platform that fits your style and audience best.
 Cheeky Chick

22
We Love Pastry Saracino Cake Decorating Magazine | January 2025

Tanya Yefremova
As a cake designer with years of experience, I’ve
dedicated my career to blending the worlds of art and
confectionery. With a foundation in art education from my
youth and formal training as a pastry chef,
I bring both artistic vision and technical skill to every piece I create. My
passion lies in crafting exquisite designs with wafer paper—a medium
that has become my hallmark. Nearly all my decorations are made with
wafer paper, allowing me to achieve delicate, intricate forms that add a
unique dimension to my cakes.

In 2024, my wafer paper flower composition won absolute gold at the

Incredible India Competition, a recognition I am deeply honoured by.
Through my online school, I’ve shared my signature techniques with
thousands of students worldwide, empowering others to create edible
art with confidence and creativity.

Each cake I design is a fusion of art and dessert, and I’m thrilled to
continue pushing the boundaries of what’s possible with wafer paper in
@ledolcimagieditaty
the world of cake artistry.

Transform Your Cakes with Wafer Paper Magic

In my project featured in this magazine, I invite you to try something special: decorating with wafer paper!

This edible, lightweight paper is a game-changer for cake design, adding unique texture and limitless creative possibilities.

Imagine delicate, lifelike flowers, graceful ruffles, or striking abstract shapes—all achievable with the right wafer paper.

Make sure to use the correct wafer paper for the best results.

For all my creations, I rely on Saracino 0.30 or 0.60, which allows me to achieve beautiful, intricate details with ease.

Using quality wafer paper can turn any cake into a true showpiece, guaranteed to impress. It’s easy to work with, easy to
colour, and perfect for decorators at any skill level.

Give it a try, and watch your cakes transform into unforgettable works of art!
 INGREDIENTS EQUIPMENT
Cake 20cm high x 15cm Smoother
diameter Rolling pin
500g white Pasta Top Knife
100g white Pasta Model Baking paper for the
Wafer paper 0.30 sketch
CMC Modelling tools
Powder colour: light Scalpel
yellow, dark green, brown, Paint palette
green, pink, violet and red Paint brushes
Gel colour: orange, ivory, Soft brushes for powder
white, yellow, brown, black, colours
red, green, violet Brushes for painting with
Clear alcohol gels. Size 1 for painting
Cornflour fine lines
Needle scriber

3
s in
come
e l 5 g
0
sta Mod g and 2
Pa g, 1k
s: 5k
size 15
o mes in !
so c urs
It al ent colo
r
diffe

24
STEP 1 Trace the bird onto a sheet of STEP 2 Create the top of the head by placing STEP 3 Use a Dresden tool to divide the head
greaseproof paper. Pin it to the side of the 25g of Pasta Model on top. into two parts.
cake with the top of the head above the top of
the cake. Trace the image to the paste.

STEP 4 Roll Pasta Model and cut out the left STEP 5 Glue it to the cake. STEP 6 Adjust with a Dresden tool by adding
part with a thickness of 1mm. Use the lines for a feather texture.
original sketch to achieve the correct shape
and size.

STEP 7 Cut out the right part with a STEP 8 Attach it with water and adjust it STEP 9 In some places make cuts on the ends
thickness of 5mm. with a Dresden tool as with the left side. with small scissors to make it look more like
feathers.
STEP 10 Add the left and right eyebrow using STEP 11 Shape the part under the beak using STEP 12 Add to the cake and adjust.
a small roll of Pasta Model. the sketch.

STEP 13 Shape the top of the beak according STEP 14 Glue it onto the cake and adjust it STEP 15 Model the cheek on the sketch to a
to the sketch using Pasta Model to a using a Dresden tool. Make indentations in thickness of 5mm.
thickness of 0.5cm. Make the corners of the the nostril area.
mouth thinner

STEP 16 Glue it onto the cake and model it STEP 17 Shape the second cheek and STEP 18 Use a scalpel to cut thin strips
with a Dresden tool. transfer it to the cake. around both cheeks for a feather effect.

26
STEP 19 Mix light yellow powder with STEP 20 Mix light yellow with grass green STEP 21 Use a flat dry brush to paint the grass
cornflour to a very light shade and dust the powder and dust around the bottom of the and shadow under the chicken. Using dark
cake on the right side of the bird with a large cake with a soft brush. green and brown powder dust around the feet.
soft brush.

STEP 22 Using dark green and brown and a STEP 23 Dilute gel colours in 40% alcohol. If STEP 24 Paint the feathers on the right side
dry brush, add blades of grass on the left you use stronger alcohol, dilute it with water. with white gel colour mixed with black.
side. Using stronger alcohol can cause the colours to
curdle and behave poorly on the fondant. Paint
feathers on the left side using white and ivory
gel and a thin brush.

STEP 25 Paint the left foot with yellow gel. STEP 26 Paint the right foot orange. STEP 27 Use a very thin brush and brown gel
to add the detail to the feet.
STEP 28 Use black to add thin outlines to the STEP 29 Use dark green to paint thin lines STEP 30 Mix brown with white and paint
paws and nails. on the grass. feathers on the left side.

STEP 31 Mix black with white and paint STEP 32 Using violet gel colour add details STEP 33 Use brown to paint the feathers on
feathers on the right side. on the feathers on the right side. the left side and right wing.

STEP 34 Paint the tips of the feathers with STEP 35 Using 0.30 wafer paper, cut out STEP 36 Cut out feather shapes from the
white colour. squares approximately 1.5cm in size. squares.

28
STEP 37 Cut the feathers along the edges. STEP 38 Colour some of the feathers with STEP 39 Dust some of the feathers with brown
yellow powder. tips.

STEP 40 Mix white powder with black and STEP 41 Mix violet with pink and dust the STEP 42 Wet your fingers with water and
dust some more feathers. edges of the next portion of feathers. squeeze the feathers on the sides so that they
bend a little.

STEP 43 Start gluing yellow feathers using STEP 44 Glue yellow feathers to halfway, STEP 45 Cover the body in this way to the
glue made with CMC mixed with water. Place glue grey feathers from the centre to the line where the wing begins.
feather on feather. right hand side.
STEP 46 Cut out larger wings from wafer STEP 47 Glue six large feathers together. STEP 48 Glue smaller brown feathers higher
paper. Approximately 2.5cm. Dust them up.
brown, and also dust small ones brown. The
wing should be darker.

STEP 49 When the wing is ready, continue STEP 50 Continue shaping the face using STEP 51 Cut out the next part, glue it on the
gluing small feathers. Pasta Model and the sketch. Add to the cake and adjust it with modelling tools to
cake. build texture.

STEP 52 Cut out the next part from the Pasta STEP 53 Glue it on the cake and adjust it STEP 54 Cut out the lower parts of the neck
Model. trying to build up layers for a 3D effect. from Pasta Model and place them on the cake.

30
STEP 55 Shape with modelling tools. STEP 56 Using a soft brush and yellow STEP 57 Using pink and violet dust the beak,
powder, dust over parts of the head. leaving the middle part.

STEP 58 Use red powder colour and a soft STEP 59 Add shadows with a dry brush STEP 60 Use a thin brush and yellow gel to
brush to dust over the cheeks and comb. and brown powder colour. paint the lower part of the eye.

STEP 61 Use a thin brush and brown colour STEP 62 Paint the pupils using black gel STEP 63 Outline in red and make shadows on
to outline the contours of the eyes. colour. the ridge.
STEP 64 Paint the nostrils with black. STEP 65 Add white details to the eye. STEP 66 Use white to add highlights under the
beak.

STEP 67 Add white highlights on the beak. STEP 68 Cut out the top part of the comb STEP 69 Dust the wafer paper using yellow
from wafer paper. Make three parts. mixed with cornflour. Use a soft brush.

STEP 70 Dust half of the paper with brown STEP 71 Dust half of one of the three parts STEP 72 Paint a line with a brush moistened
powder colour. with red powder colour. Use a soft brush. with water.

32
STEP 73 Bend the part in half. Do the same STEP 74 Add CMC glue to the recess for the STEP 75 Finally, insert the part with red
with the two other parts. comb and insert two parts together. colour.

STEP 76 Cut out the front section of the STEP 77 Dust it with red powder colour. STEP 78 Moisten with a small amount of
comb from wafer paper. water so that the paper bends a little and
insert it with the rest of the comb using a
needle tool.
 Moff a t
Alli a
ak dy
Cake L a
lli
A tions to the winner!

ratula
Cong

34
 To be in with a chance of winning a Saracino

Win a Saracino surprise box worth €100.00

all you need to do is find the one word from the
list that is missing from the word search and

Surprise Box email it to [email protected] including

your full name and the country you are from.

Worth LUCKY WINNER will be introduced in our

April issue.

€ !
The competition ends on midnight the 10th of
March 2025 and it's open worldwide!

GROOM
WEDDING
MARRIAGE
BOUQUET
AISLE
FLOWERS
HONEYMOON
BRIDAL
PASTATOP
PARTY
LOVE
CEREMONY
ALTAR
BESTMAN
 PASSIONATE ABOUT WEAVING DREAMS INTO SUGAR, ONE CAKE AT A TIME.

AIMÉE FORD Work and Inspiration:

What inspired you to start Aimée Ford Ltd, and how
did you begin your journey in this industry?
I started my journey with a very moreish chocolate
fudge cake that I used to bring into work on special
occasions. Cupcakes soon followed and before I knew it
word was spreading and I was in business!

Can you share a bit about the ethos and mission

behind Aimée Ford Ltd?
I am driven by a passion for innovation and pushing
boundaries whilst also trying to redefine industry
standards to ensure that we are all valued by our
clients and also that we value ourselves.

How do you stay inspired and creative in your work?

Are there specific sources of inspiration you turn to?
I actually turn away from cake for my inspiration! Art,
ceramics, interior design, fashion and nature are all my
main sources of inspiration and I love the challenge of
trying to create something in an edible form.

What has been your most memorable project or

achievement since founding Aimée Ford Ltd?
My biggest achievement so far has been joining the
judging team at Cake International. Head judge David
Close runs a tight ship with an in depth training
programme for candidate judges and high standards
that we all need to meet at all times. To be able to join
such an esteemed team of my peers has been an
honour though I will always keep it with me in my
head and heart what it means to be a competitor whilst
judging so that I can be the best possible judge I can
be.
36
Insights on Creative Process and Products:
Can you walk us through your creative process when Are there any upcoming trends in your industry that
developing new designs? excite you, and how do you plan to incorporate them
into your work?
Some of my designs are instant, I have a sketch and I
stick rigidly to it, but then other designs I have a vague It isn't a trend as such but it is something I am noticing
idea of a direction and then I play as I go to see what more and more...I love that people are embracing the
works and what doesn't! unique, looking beyond the norm and putting their
own spin on things. We are all creative, it is just
What techniques do you enjoy working with the learning to trust your creativity that is the hardest part
most, and why? but once we trust ourselves then we can all produce
My current favourites are texture and paint effects. I masterpieces!
use all sorts of 'tools' and mediums to create texture
from tin foil to royal icing. Trying to recreate abstract
art techniques in an edible way is always interesting!
Experimentation is exciting and I enjoy both the
success stories and the failures as they're such great
learning experiences.

What Saracino product do you enjoy working with

the most, and why?
Oo I can't decide between the new Pasta Cover, wafer
paper and the royal icing! Pasta Cover is perfect for
those who like a medium soft paste but it firms to
touch quickly enough to then work on meaning it is
great if you are a quick worker like me. With the
different thicknesses of the wafer paper it is fantastic
for many uses but the royal icing is also a star of the
show - a gorgeous bright white and it tastes just like
marshmallows! Again it dries quite quickly being touch
dry in just 1-2 hours - I love it!

How do you approach the balance between creating

products that are trendy and those that are
timeless?
I think Coco Chanel nailed it perfectly when she said

"Before you leave the

house, look in the mirror
and take one thing off."
and I think that is the same approach with cake - don't
be tempted to add too much, sometimes less is more,
and never be afraid of empty space.
 Challenges and Growth: Community and Engagement:
What have been some of the biggest challenges How important is community engagement to your
you've faced as a business owner, and how have you brand, and how do you foster that connection with
overcome them? your customers?
3 years ago I had to move premises. I was very lucky I have two different types of customers - those buying
that some friends 'took me in' and gave me a home for my cakes locally, and those who are admiring my cakes
the business but my lovely photography studio was a and buying my products in the cake world. Trying to
casualty of the move, as was being able to have all my appeal to both can be difficult but I try to just create
tools and equipment in one place. It has forced me to content that appeals to me and I find that my
evolve though, I used to regularly work extremely late, customers can feel that extra level of connection from
I wasn't the best planner and I left things to the last me to my work. Engaging with customers with a quick
minute. Now though I always make sure I have reply to comments all helps build that trust and
everything I need for the day/days ahead, and I have to relationship so that they feel valued by me, because I
allow lots of extra time if I need to film or photograph really do value the lovely people who support me in
but it has also meant that inadvertently I have taken any way.
away a big source of stress. My planning skills now are
much better and I enjoy my days far more - and I
sleep more!
How has your brand evolved since its inception, and
what do you see for its future?
My business started as 'Butterfingers' and eventually I
shed the brand name to step out as myself. I have just
brought out the first couple of products in my new
product lines with embossing mats and pre-cut edible
wraps, with more products to come. I am trying to find
products that help people create inspiring cakes in a
quick, easy and affordable way.
What advice would you give to aspiring
entrepreneurs looking to start their own creative
businesses?
From a business perspective - work out your costs, add
on a fair wage and then don't forget profit! From the
creative perspective - embrace your creativity, practice
and play with techniques and find what works well for
you, but never stop experimenting.

For more of Aimee’s

designs, follow:

aimeefordltd

Aimee Ford Ltd

38
Personal Insights: Final Thoughts:
What do you enjoy most about running Aimée Ford What message do you hope to convey to your
Ltd? audience through your work?
Running my own business means putting myself out of I hope my audience can see the pure joy I get through
my comfort zone on an almost daily basis, which can my work. When I am 'in the zone' creating I am at my
be incredibly scary at times, but it gives me the greatest happiest and time can fly. Those are the cakes I love
opportunity to grow as a person. It has changed me, the most and I hope others can feel that too.
and continues to change me, in so many positive ways,
ways I just don't think I would have changed without Are there any upcoming projects or launches that you're
taking the plunge and going for it. particularly excited about and would like to share?
I am so excited to have just launched my own product
If you could create a piece or product for anyone,
lines of embossing mats and pre cut edible wafer paper
whether a celebrity or a fictional character, who
wraps. These are the first two product lines and I am
would it be and why?
really excited to see what people create with them. Both
I would love to create something for Diane Von products are incredibly quick and easy to use plus they
Furstenburg. She changed the fashion industry with a are super effective too. Those who have bought them
single item, not just once, but twice when the wrap already have loved them and commented on the
dress was revived but not only that, she is fearless, she incredible quality. With 10 different mat designs so far
has been a pioneer for women in business and women and 15 wrap designs, there is something for everyone
being entirely unashamed of being themselves. Diane is too!
really someone exceptional and she has an incredible
eye for design so would likely appreciate some of my
stranger creations!

Outside of work, what are your hobbies or interests

that fuel your creativity?
I love to get out walking with friends, and I spend lots
of time looking at art and fashion. Quite a few of my
friends also have their own businesses and so we
bounce ideas off each other. We also have the
occasional karaoke night to let our hair down on a
random Sunday if we all don't need to work Monday
morning!
40
 PASTA COVER
Sugar Paste for Perfect Cake Coverings

Discover the new PASTA COVER, the ideal solution for covering and decorating your cakes with ease,
professionalism, and an incredible taste and fragrance. PASTA COVER is designed to deliver excellent
performance and impeccable results.

Perfect Consistency at
Any Temperature:
Thanks to the use of hydrogenated palm kernel oil, PASTA COVER
maintains the same consistency from 18°C to 38°C. You won't have to
worry about temperature fluctuations; your sugar paste will always be
ready to use.

Ease of Use:

PASTA COVER does not require long manipulation. It is immediately

soft and flexible, perfect for rolling out and shaping effortlessly. It
doesn't dry out quickly, avoiding the elephant skin effect on your cake.
It will always remain soft and perfect when cutting the cake.

Pure White Colour and

Vanilla Fragrance:
Our PASTA COVER stands out for its pure white colour and delicate
vanilla aroma, ideal for creating elegant and refined-looking cakes.

Stability and Strength:

It maintains its shape and does not tear during application, ensuring a
smooth and even cover. It is flexible to perfectly adapt to your cakes
and does not suffer from thermal variations.

Economical and
Convenient:
With the rising costs of cocoa butter, PASTA COVER represents an
economical alternative without compromising on quality. It offers excellent
value for money, making it the perfect choice for both professional and
amateur pastry chefs.

Tropical Climate
Resistance:
by Cake is love by Jenny
PASTA COVER performs exceptionally well in high humidity and
temperature conditions, maintaining its integrity without ingredient leakage
issues. Ideal for hot and humid environments, it guarantees perfect results
anywhere.

9
 Origami Tulip

42
 We Love Pastry Cake Decorating Magazine | January 2025

Jenny Bacchus
I'm Jenny of Cake is Love by Jenny. I live in Cornwall in the
UK, with my two children and our small dog Cinnamon.

My career history is very much all sales and business development, and it
wasn't until 2015 that I started exploring cake making and cake
decorating; making birthday cakes for my children and later, extended
family and friends. It was their joy that named Cake is Love.

Fast forward to 2020 when I found my passion for the art of cake
decorating and I spent many hours trying and practicing different
techniques to try and understand multiple decorating mediums.

It wasn't until I found Saracino wafer paper that I fell head over heels with
one medium and I am always keen to incorporate it into my work. I’ve
explored many Saracino decorating pastes and products, with all of them
being firm favourites. The quality of the products has really helped me
take my work and finish, to another level. I trust the products will do as
advertised, which is much needed value. Saracino’s innovative cake paper
is another product I love to work with. It’s an effective and efficient way
to decorate cakes. Great to print on, paint on, craft flowers and other @cakeislovebyjenny
décor. I was completely blown away when my cake was chosen for the
Cake Is Love by Jenny
packaging of Cake Paper and to have my work featured on the website. I
am thankful for the amazing opportunities I am presented with.

These past 2 years, you may have seen my work featured in We Love
Pastry and 4 other international industry magazines. I am yet to compete
at any level but I do enjoy competing with myself, to create something
imaginative and unique each time.

About the project

This Origami Wafer Paper Tulip Tutorial is a tutorial for the cake in its entirety. I wanted to create a piece, which on first
look, can be seen as simple, but contains a range of mediums and challenging techniques. These can be quite hard to
figure out through trial and error, so I have tried to incorporate as many top tips as I can, to save you time.

The techniques used in this tutorial can stand alone as individual elements, or as an entire look, making it incredibly
versatile. They give a greater understanding of the products, therefore making the skills you learn, transferable to ongoing
work. The idea that looking out of the window, is much more inspiring with blue skies and clouds holds so much appeal,
and tulips are a spring favourite.

If you feel inspired to try these techniques, or the tutorial on a whole, I would love to see what you all create, so please
feel free to tag me on socials.
 INGREDIENTS EQUIPMENT
0.3 wafer paper Cutting mat with grid
Cake Paper Craft knife, ruler, scissors
Pasta Cover and long cutting blade
Sugarplus Isomalt Silicone mats x2
Royal Icing Sugar pump for blowing
Liquid Shiny glaze isomalt
Powder colour: green, dark Blowtorch
red, black 4 clean powder brushes
Pearl powder: silver and and smaller brushes for
pearl blue water and glaze
Silver pearl powder pump application
silver Silicone container
Gel colour: light blue Toothpicks
Silver glitter flakes Turntable
Silver leaf 2 metal scrapers
Water based airbrush Dresden tool
colour green Water mister
Water Parchment paper
Ganached hexagon cake Airtight containers /
24cm Ziploc bags
Paper towel
Rolling pin
Heatproof and food safe
gloves
Fondant smoothers
Silver/grey ribbon
12 inch square cake drum

s
ove
ear gl th
w wi
ays ing
Alw work t
n al
whe Isom

When working with

Isomalt protect the
surfaces from being
damaged.

44
STEP 1 Cut eight squares measuring 9 x 9cm STEP 2 Colour both sides of all the squares STEP 3 Using two straight edged scrapers,
from 0.3 wafer paper. You will only need six using dark red powder. Move your brush in a make the first fold in your square. Place the
tulip heads, but it helps to have extras, in case circular motion to colour evenly. Colour on paper textured side up. You will use the
of breakage. parchment paper to allow you to pour excess scraper under the paper to fold the paper
powder back into the pot and to make upwards. Once the fold is made, remove the
clearing up easier. Place your coloured scrapers and place one on top of the folded
squares into an airtight bag until you use paper to sharpen the crease in the paper. I use
them, this stops the paper from drying out. metal scrapers as they are thinner edged.

STEP 4 Unfold the paper and fold along the STEP 5 Keep your square folded, as shown. STEP 6 Mirror the next fold line using the
second diagonal, effectively placing a cross in Your next fold will be made 42 degrees from same angle and the Dresden tool to score the
your square. Use the same method as before the base of your triangle. It helps to use a paper. Your triangle will now look like this.
protractor. The scraper marks the line for
the fold. Use your Dresden tool to score a
fold line.

STEP 8 Turn your tulip head over. The

following folds are made at specific
measurements from the centre fold to give the
STEP 7 Use the straight edge of your scraper tulip head it’s shape. The measurements are: STEP 9 Your folding of the tulip is now
to fold your scored lines. This is the result. Top 2.5cm. Bottom 2.2cm. The scraper joins complete. Place into your air tight bag and
the two points to create the line to score. Score move onto the next. Remember you will need
using your Dresden tool and pay attention to 6 in total.
the multiple layers of paper to fold. Creating
firm lines will make it easier to fold.
STEP 10 Cut eight strips of 0.3 wafer paper STEP 11 Dust both sides of the strips using STEP 12 You will make eight in total. I stored
measuring 15 x 4cm, these will be used to green powder. Using your mister to soften the between two sheets of cling film to stop them
form the stems. paper, but not saturate, fold the paper drying out too quickly.
lengthways to form the stems. Ensure your
edges are sealed down. The thickness of your
stems will be approximately 0.5cm.

STEP 14 Leaves will be folded with the

textured side on the inside. Fold 1 is a centre
line lengthways, use the straight edge of the
scraper to fold. Cut the folded paper as shown,
STEP 13 Now the leaves. Cut 6 strips of STEP 15 Your leaves will look like this. Place
from the folded line. No specific measurements
wafer paper measuring 10 x 2cm and 8 strips to one side for dressing the cake at the end.
needed. Fold 2 can be placed anywhere near
measuring 8 x 2cm. Dust both sides of all
the halfway point down the leaf. Fold
strips green.
downwards, but only to form the angle shown.
The arm of the leaf is to be folded back on
itself, gently. Fold 3 is to push inwardly the
sides of the leaf to create the final shape.

STEP 16 Attach the stems using only a damp

paintbrush, pay attention to the stems natural STEP 17 Cake covering: cover your cake STEP 18 Colour the following weights of
curve as they will form part of your using Saracino Pasta Cover Top, for a clean Cover Top paste with light blue gel as follows:
placement in the vase. Use your damp white canvas. Cover the top and all the 100g 1/2 drop, 100g 1 drop, 100g 2 drops,
paintbrush to stick the flaps of wafer paper sides. I used one piece of paste. Place aside. 100g 4 drops. Colour 75g with a ¼ tspn of
on the back of your tulip heads in place. Use silver pearl powder. Place all balls of paste,
the paper towel to take excess water off your except the darkest blue, in an air tight
brush. Place your tulips aside to dry. container or bag.
STEP 19 Roll your paste into a rough STEP 20 Roll all the remaining pastes, from STEP 21 Trim the edges of your paste slab and
rectangle, approx. 0.5cm thick. Dust the top dark to light, stacking one on top of the other. cover the top layer with edible silver leaf
using a fresh brush and pearl blue powder. The non use of icing sugar allows them to
Note no use of icing sugar. stick.

STEP 22 Roll your slab to almost double the STEP 23 Stack your two halves onto each STEP 24 Cut in half and stack again and roll a
size, cut in half. other and roll to crackle the silver leaf, little to stick the slabs together.
double size again.

STEP 25 Using your two cutters of choice, STEP 26 Using your long blade, take thin STEP 27 Use your cutters to create cuttings,
cut in to your slab approximately 3/4 of the slices off the top surface of your slab and going as far through as possible without
way down. Overlap the cutting, this will add continue to until your slab looks like this, hitting the bottom.
interest to your pattern at the end. where the pattern is fading and the cutter
marks too. Place pieces to one side.
STEP 28 Roll over the surface of your slab, STEP 29 Continue taking thin slices from the STEP 30 Roll enough paste to cover the front
gently. top of your slab until your slab is used. of your cake, roll it a few cms smaller than the
surface you want to cover. Start covering your
paste with the slithers of patterned blue paste
you have just created. Note: there will be a
pattern on both sides of the blue, so pick which
side you want to use. Use little or no icing
sugar.

STEP 31 Cover the entire piece of white paste STEP 32 Roll your layered paste to a STEP 33 Flip your rolled paste upside down,
and ensure no spaces between. smooth surface and slightly bigger than the you will see the white paste. Place your cake,
cake surface. surface to be covered down, after gently
steaming the ganache. Using your blade, cut
all the edges flush with your paste covered
cake.

STEP 35 Covering the sides of your cake, the

hexagon shape will be the front of your cake
top forward. You will need 3 strips in total.
One of those strips will be cut to only cover one
STEP 34 This is the result. side, leaving the base edge free of cake paper. STEP 36 If needed, steam the paste and
Mix a tiny amount of black powder into the adhere the cake paper, leaving the bottom
silver pearl powder to great a gun metal colour, edge without. Keep your cake on parchment
dust the smooth side of all your strips. It’s paper so the back does not attach to a cake
important to cut the cake paper before board
colouring as the air softens the paper, which
48
makes it much harder to cut.
STEP 37 Cut some strips of cake paper, STEP 38 Cover your cake board with Pasta STEP 39 Give a generous spray of silver pearl
approx. 1cm width, colour with the same gun Cover Top paste. powder. Do not brush the board as this will
metal colour and cut and stick into place as leave black streaks in your fondant.
shown. Use steam or mister if needed. This
gives the feeling of a window.

STEP 40 Vase: if this is your first time using

your sugar pump, coat the outside of the metal
tube in a thin layer of veg oil. If your pump is
well used, this is not needed. In a silicone STEP 41 Once all the bubbles have popped STEP 42 Use a rocking motion with your
container, melt 100g of Sugarplus isomalt in at the surface of the isomalt, pour onto a silicone mat to move the isomalt back and
short bursts in the microwave, approximately clean silicone mat. I double layered silicone forth until movement is minimal. Place the
15 seconds to begin, gradually getting shorter mats to protect the surfaces from being mat down and start to bring the isomalt
until your isomalt is bubbling and crystal-less. damaged. together to disperse the heat. Do this by using
For these amounts, I like to use silicone the mat to start folding the isomalt onto itself.
cupcake cases and split the isomalt across two
cases to speed up heating time. I recommend
wearing heatproof gloves.

STEP 43 Add one drop of water based STEP 44 Keep using your silicone mat to STEP 45 When the isomalt slows from freely
airbrush colour. bring your isomalt together to one lump. spreading, start to form a little cup, pulling the
When left to sit, it will spread naturally as it edges of the isomalt upwards.
is still very hot.
STEP 46 Using your thumb, create and keep STEP 47 Insert the metal rod into your cup STEP 48 Keeping your isomalt on the mat so it
the hollow in the middle. and bring the edges of the isomalt up to stick keeps its shape, start with half pumps. Areas of
to the rod as shown. When keeping the very hot isomalt will naturally blow faster than
isomalt ball in shape, be careful with hands cooler areas. Use the silicone mat and your
and be careful not to block the inserted tube. gloved hands to control that.
The movement is still present in the isomalt.
Important: bear in mind the scale of the vase
needed for tulips and cake.

STEP 49 As your vase grows, you can add STEP 50 Once blown and cooled, remove STEP 51 Note, I ended up not using this vase
movement by pulling and twisting the top from the pump, you can blowtorch a sharp as the neck wasn’t quite right for what I
attached to the metal rod, but its not knife to do this if it is stuck. Use the same wanted. To open the vase top, gently heat for
necessary. Please also note as the vase grows, heated sharp knife to cut the neck of your a second or 2 with your blow torch on a low
the isomalt becomes thinner and more vase down so you can fit your tulips in. temp and use the metal rod on the pump to
delicate. As the isomalt cools, use half puffs push the inside edge of the vase outwards. Go
of air to keep it inflated. around the entire rim until you have widened
enough. Heat the edges cautiously.

STEP 52 Once cool, glaze your entire vase STEP 53 Set your cake on the cake board, STEP 54 Set your vase in place.
with Liquid Shiny. Do not use an airbrush. allowing room for your vase. You can use
Brush on. I like to do a couple of layers and royal icing to attach your cake. Sprinkle
store isomalt in an airtight container with silver glitter flakes onto your cake board and
food safe silica gel. Ensure the gel is not wrap your cake board in silver/grey ribbon
touching the isomalt. to complete the look.
STEP 55 Arrange 5 of your tulips in the vase STEP 56 Add leaves to your 6th tulip and STEP 57 Your wafer paper origami tulips
and use a damp paintbrush to stick your arrange on the cake board. cake is ready to surprise everyone!
leaves in place, trim them as needed.
 Supreme Food Flavourings
Hello Foodies, Bakers, and Creators!

At Saracino, we believe that every dish should tell a story.

Whether it’s the rich, velvety taste of vanilla in a birthday cake
or a zing of lemon in a refreshing tart, flavours have the
power to transform ordinary cake into extraordinary
experiences. That's why we're so excited to introduce you to
our Supreme range of food flavourings!
What makes Supreme so special? Let us take you on a little
journey to discover why these flavourings will soon become
your go-to secret ingredient for everything you bake (and
cook!).

Simply put, Supreme is a premium range of highly

concentrated food flavourings designed to bring intense,
authentic flavours to your recipes. Whether you're baking a
cake, making a buttercream, whipping up a batch of cookies,
or even making ice cream, these flavourings add that perfect
touch of taste that will leave everyone asking for seconds.

Our flavourings are made with care, capturing the natural

essence of the ingredients so that every drop delivers
maximum flavour. Imagine tasting the freshness of sun-
ripened lemons or the comforting richness of bourbon vanilla
in every bite – that’s what Supreme is all about!

52
 BIG FLAVOUR IN A HEAT-RESISTANT ENDLESS

Small Jar: Magic: Versatility:

Just a few spoons of Supreme go a Ever baked something only to find Baking? Cooking? Frozen desserts?
long way! that the flavour has faded in the Supreme does it all.
oven?
These flavourings are super Our flavourings are great for
concentrated, so you don’t need Not with Supreme! cakes, ganache, milk, biscuits,
much to get that delicious, bold buttercream, fresh cream, ice
taste. Perfect for when you want to Our flavourings hold up cream, and even sauces and
make an impact with minimal beautifully under heat, ensuring marinades. You can get as creative
effort. that your baked goodies taste as as you like!
good as they smell.
We advise using 10 % of
Supremes per litre or kg of
mixture.

REAL, AUTHENTIC SO MANY FLAVOURS

taste: to Choose From:

We know you want flavours that We’ve got something for every
taste natural, not artificial. That’s taste bud.
why we focus on using the best
ingredients to create flavours that From the timeless favourites like
are true to life. vanilla, strawberry, and lemon, to
more exciting options like caramel,
Whether you're adding vanilla to a coconut, and pistachio, you’ll
cake or hazelnut to a macaron, never run out of new flavour
you'll taste the difference. combos to try.
 It couldn’t be easier! Since Supreme is super concentrated, just a little bit will do the
trick. Here are a few ideas on how to get the most out of your jar:

FOR BUTTERCREAM & FROZEN SAVOURY

baking Fresh treats dishes

Add a few spoons directly
into your cake batter, cookie
cream Create gourmet ice
creams, sorbets, or even
Feeling adventurous? Our
lemon, coconut, or
dough, or even meringues. frozen yoghurts at home. hazelnut flavours can add
These flavourings work
Start with just a little – you Just a few drops of your a fun twist to savoury
like magic in buttercream
can always add more if you favourite flavour and sauces, dressings, and
or fresh cream, giving your
like rich taste! you’ll be amazed at the marinades.
decorations as much
results!
flavour as they have flair.
We advise using 10 % of Think outside the box!
Supremes per litre or kg of
mixture.

Our top seller! Rich Bright and zesty, our Perfect for pistachio Rich and nutty, this
vanilla is perfect for lemon flavour is a must macarons or gelato – it's a flavour is perfect in coffee-
adding warmth and for lemon drizzle cakes, taste of Italy in a jar! flavoured desserts or for
depth to cakes, tarts, and even salad giving your bakes that
custards, and more. dressings. irresistible nutty note.

54
 SMALL MIX & STORE WITH

start match care

Remember, a little goes a long Don’t be afraid to get creative and To keep your flavourings fresh
way. It’s always better to add a mix flavours! Vanilla and coconut, and potent, store them in a cool,
little and taste, then add more if hazelnut and chocolate – the dry place with the lids tightly
needed. You’ll be surprised at possibilities are endless. sealed. They do not need to be
how intense the flavours are! kept in the refrigerator.

Bring Your Creations to Life with Saracino Supreme!

At Saracino, we believe that every baker and chef deserves the best ingredients to create their masterpieces, and
Supreme flavourings are our way of helping you bring your ideas to life. Whether you're baking for family, friends,
or customers, our flavourings will add that special touch that sets your creations apart.
So, are you ready to take your bakes and dishes to the next level? Try Saracino Supreme flavourings today and
experience the magic of real, authentic flavour. We can’t wait to see what you create!

Share your
favourite Supreme
creations with us
on your socials!

NEW FLAVOURS
 Steak Pie Cake

56
We Love Pastry Cake Decorating Magazine | January 2025

Diya Pal
I’m Diya, a multi-award-winning hyper-realistic cake artist
with a passion for transforming real-life objects and food
items into edible works of art.
I was born and brought up in India before coming to UK to join my
husband in 2005. Although I have a bachelors in Psychology Majors and
did an MSc from Birmingham Business School with Human Resource
Management with distinction, life had other plans!

I left my city job after my maternity to look after my kids. That’s when I
started putting my fingers in cake mix and learnt to decorate cakes,
mainly to make special cakes for my kids birthdays. That soon developed
into a love for realistic cakes and I became addicted!!!!

My cake journey did not have a fairytale start but I kept learning as I
went along. From my first Merit at Cake International, today I proudly
stand with gold, multiple silvers, three times) and top three in realistic
cakes (Cake International 2022, 2023, 2024)

@diyacakesit
My speciality is creating cakes that look so lifelike, they often leave
people doing a double-take!

From everyday items to intricate food replicas, I love pushing the

boundaries of what cake can be. Recently, I was thrilled to receive the "IS IT REAL,
Gold Award at the Cake International competition, a recognition that
means so much to me in the world of cake artistry. This award, along
with others I’ve been honoured to receive, reflects my dedication to
OR IS IT CAKE?"
detail and creativity. Nothing excites me more than the challenge of
making people question:

About the project

In this realistic cake of the steak pie, mash and vegetables, I share how to make this realistic cake. The reason why I have
chosen this cake is because, although it looks very realistic, it is suitable for beginners and all levels!

I will talk you through making the foundations and base, different techniques for realistic textures and colours to use, to
make it look like a realistic steak pie meal complete with mash and vegetables- all made with cake and Saracino products.

The best part is the techniques used are versatile and can be used to make other realistic cakes projects too! Like
achieving the pastry texture, the shades that give a realistic look and making the meat and gravy that can be applied to
other realistic cakes for making meat texture.

It's fascinating how simple tools available combined with the Saracino products, can give such a realistic look to a cake!
 INGREDIENTS EQUIPMENT
Saracino modelling Dresden tool
chocolate: white and green Needle texture tool
Gel colour: brown, ivory, Crumpled foil
green, orange, white Sharp knife
Saracino Liquid Shiny Paint brush
glaze
Saracino royal icing
Saracino Cake Gel
Ethanol/spirit/vodka for
diluting colours
Round and domed cakes
Ganache

Modelling Chocolate can

be greasy so wear
gloves while working
with it

New colours smaller packs

58
STEP 1 Take a round cake and taper the STEP 2 Scoop a bit from the front. How STEP 3 Wrap the side with modelling
bottom slightly to give a slanted look. much you scoop is entirely your choice and chocolate.
how much of the inside steak filling you want
to show. Once happy with shape, give a coat
of ganache to seal the cake.

STEP 4 With a Dresden tool, make dented STEP 5 Cover the top with modelling STEP 6 Trim the front to the shape of the
vertical strokes to give a ribbed texture. chocolate. It should 1cm wider than the inside cake.
cake.

STEP 7 Pinch the edges, to give it lift and STEP 8 Using a clay pottery sculpture STEP 9 Add the pastry texture to the open
organic look how you would see in a pie. needle, make strokes to give a pastry layer edges.
texture.
STEP 10 With scrunched up foil press on the STEP 11 With a blade or Dresden tool you STEP 12 Paint a light coat with ivory gel colour
surface to give a baked pastry look. can lift the modelling chocolate in the front, to and spirit.
show puffed layers on the pastry.

STEP 13 Use brown and ivory mixed with STEP 14 For peas, mix a tint of brown gel to STEP 15 With a Dresden tool, make some
spirit to colour the edges and random areas green modelling chocolate and make small dents to make it looked cooked.
on the top to make it look baked. balls.

STEP 16 Colour your white modelling STEP 17 Roll a carrot shape and slice STEP 18 For mashed potato, cover a small
chocolate using orange gel colour. horizontally in 1 inch pieces. round half dome cake (1 inch in height) with
modelling chocolate.

60
STEP 19 Add some royal icing to buttercream. STEP 20 With a teaspoon, smear the STEP 21 For meat, take random chunks of
This will give the mash texture. buttercream over the covered cake, to give it a modelling chocolate coloured with brown gel
mashed potato look. colour. Use crumpled foil to give the meat
texture.

STEP 22 For gravy, mix cake gel with brown STEP 23 Add the meat chunks to the gravy. STEP 24 Now place these in and to the front
and white gel colour. You can add a few bits of orange and green of the cake.
if you want a bit of vegetable showing in the
filling.

STEP 25 Brush the pastry with Liquid Shiny STEP 26 Brush the vegetables with Liquid STEP 27 Your Sunday dinner is ready! Trick
to give it a glazed pastry look. Shiny to give a wet look. your guests!
 Melanie Underwood
Head of Cake International & Bake
International shows

Talk show with

Melanie
Underwood
Now that Cake International 2024 has What were some of the standout Were there any surprises or unexpected
wrapped up, how do you feel about this moments or highlights of the show for you developments during the show that you
year’s event? Did it meet or exceed your this year? found exciting or challenging?
expectations? I loved it all, hard to choose a standout, The show itself ran smoothly, the
I knew the show was going to be busy the Prop Options entrance feature was competition organisation is always
because of our advance ticket sales but absolutely brilliant, people were challenging with over 1,000 entries but
you can’t predict the atmosphere, it walking into the show grinning, Emma the majority ran very well, although we
was wonderful. Jayne’s Queen Elizabeth l feature still have improvements for next year
surpassed her previous one (hard to on the process. I suppose Taylor Swift
achieve!), Sugar Screams feature was deciding to collapse from her home to
mind blowing, Zoe’s Fancy Cakes I the show was a challenge!
absolutely loved, she is so clever,
Immaculate Confections Sugar Garden Appearing on Radio 5 Live was
was exquisite and the detail on Gary exciting for me, particularly as my
Pollard’s was amazing. husband listens to it regularly, he called
me straight after I finished, he was
listening to it whilst decorating our
bedroom!

62
Every year brings a new level of creativity. How did the
2024 entries compare to previous years in terms of quality
and innovation?
The quality this year across the board was high and we
had competitors surprising the judges with their
innovative exhibits, next year we have asked a couple of
competitors to deliver a talk on their pieces to the judges.

The talent on display at Cake International 2024 was

incredible. Were there any entries or competitors that really
stood out to you this year?
The Best in Show entry by Qun Hua Long was beautiful
and very deserving to win. I did love the baby Medusa
too by Karine Turgeon winning a gold, apparently it is The judging process is always a critical part of the show.
her first time exhibiting so she is certainly one to watch! Looking back, how do you feel about the judging and
results this year?
We had quite a task as 2023 we suffered with admin
errors, we reorganised our system and are pleased with
the progress, we are already planning a further
improved system for 2025.

Organising a show of this magnitude must be a huge

undertaking. What were the biggest challenges you and
your team faced in putting together Cake International
2024?
2024 has been a tough year for everyone in our
industry, the biggest challenge was maintaining our
reputation as the biggest cake decorating and baking
show in the world, I think we achieved it with our
30th Birthday Show.

What feedback did you receive from competitors and

judges about the competition this year? Were there any
recurring themes in their comments?
We found the competition feedback vastly improved on
2023 show, still a way to go, I am never satisfied but
very happy we are heading in the right direction
 This year, Cake International saw a lot of international
participants and attendees. How did you manage to keep the
event engaging and accessible for such a diverse audience?
I try to organise a show which keeps you entertained for
the whole weekend, plenty of workshops, 2 theatres
offering live baking and live cake decorating and a
variety of trade stands.

What did you learn from this year’s show that you will take
forward into planning for next year’s event?
As I said previously, I am never satisfied and highly
critical of my work, I am planning to announce our
workshops early 2025 to enable people to pay How do you see Cake International continuing to evolve
instalments and am already finalising on our features so I over the next few years, especially with new trends in
suppose you could say I am finishing all a lot earlier cake artistry and baking emerging?
than I usually would!
With our new Awards Evening event happening
In what ways did this year’s show reflect the growth and Saturday 1st November 2025, I think this will put us at
changes in the cake decorating and sugarcraft industry? the forefront of new techniques and ideas, keeping us
in touch with product changes and new artists.
We introduced baking into our show 3 years ago, this
has been our biggest growth and we will continue to As Head of Cake International, what drives you to keep
grow this area yet still maintain cake decorating as our
innovating and delivering a world-class event year after
core subject.
year?
With the success of Cake International 2024 behind you, I am a hard task master on myself, I keep pushing
do you have anything else interesting planned for 2025? myself forward and I am, I must confess, very bad at
I am already planning the show, it is a full time job for switching my brain off...
me but I am very excited now to have someone else
What kind of impact do you hope Cake International 2024
helping me, Emma, will be working with me selling the
trade stands.
had on both competitors and attendees?
I hope they came away loving the show as much as I
Are there any major changes or exciting ideas that you’re do
already thinking about for Cake International 2025?
Yes, I am excited to say that we are planning an For aspiring cake artists who may have attended the show
Awards Evening Event for 2025 at The Hilton for the first time, what advice would you give them for
Metropole NEC on Saturday 1st November 2025 to entering the competition in the future?
coincide with our Cake International and Bake For anyone who has not entered our competition
International Show 31st October 2025 - 2nd November before, I think it needs to carry a health warning as it
2025. is very addictive! You are entering a very unique
community and you will make friends for life. I would
encourage you to join our CI UK Rules Queries Group
on Facebook, their help is invaluable.

How do you think Cake International contributes to

shaping the future of cake artistry and the broader baking
community?
Cake International has always been a pivotal and very
important part of the industry, our aim is always to
grow the industry and spread the word of the
wonderful world of cake artistry.

64
 Valentine Treat

66
 We Love Pastry Cake Decorating Magazine | January 2025

Alya Yanni
I’m Alya, owner of Loulou Sugar. I am a Doctor who took the long
path to pursuing my artistic passions eventually becoming a fulltime
sugar artist. I have been a sugar artist for 20 years. I live in Dublin,
Ireland.
I specialise in realistic, sculpted cakes, miniature sugar models and sugar flowers.
Reflecting on the cake world 20 years ago, the first thing springing to mind is the
lack of specialised tools, the second is making all my own pastes because I simply
could not find pastes on the market that fulfilled my needs.

Skill is well and good but products are the cornerstone of achieving amazing
flawless creations; homemade pastes always led me to feeling ‘my work lacked
something’. Everything changed when I discovered Saracino products!

They are truly second to none: from Pasta Top’s pliability and stretch to the
amazing Pasta Model which allowed me to create incredibly detailed miniatures
which retained their shape beautifully. Saracino Modelling Chocolate and Pasta
Scultura have been my ‘game changer pastes’ allowing my realistic cakes to
achieve a ‘finish’ whereby it was difficult to differentiate between realistic and real
items.

I attained another dimension in ‘realism’ by combining Saracino Flower Pastes @loulou_sugar

with Modelling Chocolate and Pasta Scultura facilitating the addition of minute
realistic details.

The superior quality of these pastes and the ability to combine them has
undoubtedly expanded my creative horizons without limits!

About the project

The inspiration for this project came about as a result of researching food related themes for Valentines day; we
automatically tend to think of chocolates and desserts when associating the two.

The goal was to come up with a novel valentine food theme that is inspiring and new, and one that would include several
techniques ranging from those achievable for a beginner to the advanced and experienced sugar artist.

Within this tutorial at least nine mini tutorials are included which will allow you to either recreate this Valentines Grazing
Board in its entirety or choose specific elements in isolation to tackle.

The aim is to walk you through new techniques in a clear and visual method that takes the guessing game and mystique
out of hyper-realistic cake creations.

Hyper-realistic cakes are often seen as a daunting challenge to many cake artists; we hope that this tutorial will debunk
some of the myths and help you to create new projects whilst allowing you to use Saracino products in an innovative
way to achieve stunning results.
 INGREDIENTS EQUIPMENT
Saracino Modelling Cake board: 14” square
Chocolate: white Large and small rolling
Saracino Pasta Scultura pins
Saracino Arati Mirji flower Turntable
paste Cake steamer
Saracino Pasta Bouquet Modelling tools
Saracino Pasta Top Craft blade
Saracino Pasta Model Small scissors
Saracino Sugar Plus Formers (bowls/plates)
Isomalt Cutting mat
Saracino Royal Icing mix Food safe liquid silicone
Saracino Liquid Shiny Food safe silicone putty
glaze Food items that are
Saracino tylose powder useful: Oyster shells,
Powder colours: white, asparagus, figs,
black, yellow, orange, red, strawberries, nuts, parma
purple, green, brown, ham
chestnut, silver, gold, navy Airbrush
blue Paint brushes
Gel colours: black, white,
rose beige, brown, chestnut,
caramel, navy blue, orange,
yellow, green, red, purple,
lime green
Edible glue
Cornflour
Clear alcohol
Gelatine
Edible foodsafe markers:
black, brown, yellow, green,
red, pink
Cake and ganache

68
STEP 1 Moulding the peanuts, cashews and STEP 2 Moulding the oyster shells: mix and STEP 3 When the mould has cured remove the
pecans: mix food safe silicone liquids in a combine parts A and B of the silicone putty shells carefully by lifting the front edge up and
plastic cup according to instructions. Rest for a according to instructions. Form a ball with rolling the mould back. Remove the shell lids
minute until bubbles rise to the surface. Note: the putty and press on the back of the shell from the mould. The moulds are ready to use
this is important because presence of bubbles while stretching it forward to cover the whole immediately.
in the finished mould renders the surface of surface. Curl the putty over the edges.
the item imperfect.
Glue the nuts in separate containers to the
base with the surface to be moulded facing up.
Pour the silicone liquid mixture over the nuts.
Ensure the surface is covered completely.
Allow to set. When the mould is ready remove
from the container and discard the nuts. The
mould is ready to use after 24 hours.

Areas that do not cure properly will be

TIP
sticky to the touch. Do not discard the mould, simply dip a fluffy brush
in cornstarch and dab the sticky areas with a thick layer.

STEP 4 Making the oyster lid: Roll 10g of STEP 5 Using the real shell as a reference, STEP 6 Place the lid on the real shell and
Pasta Bouquet into a ball and press into the place a blade horizontally as shown. Use a gently push it into the grooves and curves
mould. Press the paste over the entire surface ‘slice and turn’ motion all the way around using a ball tool. Allow to dry for a few hours.
of the mould. Remove excess paste and the lid creating a ‘puff pastry’ effect on the
smooth the edges. edge. Using the tools shown define and
sculpt the surface.

TIP
Holding the mould and paste between your index finger and thumb
press firmly at the edges moving your thumb towards the edge. This
will thin the edge of the lid while keeping the middle thicker as well as
removing the surplus paste without distorting the shape.
STEP 7 Moulding the shell: place a 40g ball of STEP 8 Use the real shell as a reference to STEP 9 Remove the shells from the mould very
Pasta Bouquet on the shell mould. Stretch the sculpt the free edges to achieve a ‘puff pastry’ carefully. The silicone moulds are stiff, in order
paste over the surface of the mould. Smooth effect (step 5). Allow the paste to dry for 2 to ensure the flower paste shells are taken out
the surface with a ball tool ensuring a good hours in the mould of the mould safely place a silicone tool at the
contact between the paste and the mould. front edge and release the paste from the
Sculpting the edge of the shell while the mould slowly while simultaneously gently
TIP
paste is in the moulds allows for very lifting the paste shell upwards and forwards.
fine detail to be added to the shell
without distorting the shape of the shell
and also allowing the paste to dry
completely before unmoulding.

STEP 10 In order to dry the flower paste STEP 11 Using a bright white colour, STEP 12 Dilute some black gel with clear
shell completely without distorting the shape airbrush the interior. Immediately air brush alcohol to achieve a light grey tone. With a
and details it is placed on a small piece of small circular areas of brown. Allow to dry soft brush paint circular areas as shown.
polystyrene that fits into the shell. Allow to completely before proceeding to step 12. constantly refer to the real shell to ensure
set overnight. accuracy.
TIP In order to create a natural effect
mimicking the real shell as shown, hold the
airbrush close to the surface. Airbrush a
thick layer creating a mottled uneven
finish. The brown areas are created while
the white layer is still wet, this results in a
‘wet on wet effect’ with soft natural edges.

70
STEP 13 Painting the exterior of the shell: As STEP 14 Add fine details and depth to the dry STEP 15 Creating a soft natural pearl finish on
seen in the photo start by painting the basic painted surface using light brown, dark brown the inside of the shell: mix Saracino powder
pattern on the shell to mimic the real shell and black food safe markers. pearly silver with white powder. Add clear
using light brown, chestnut and black. Do not alcohol until the solution is very watery and
rush this step; allow each layer to dry before almost see through. Paint the surface. Allow to
proceeding to the next. dry completely.

TIP It is important to avoid a thick silver

TIP Adding layers of paint to a dry surface
layer that looks unnatural. In order to
ensures a depth of colour and prevents
achieve a natural ‘pearly’ finish ensure
seepage allowing the final effect to have
the painting mixture is very watery with
a rich dark well-defined tone.
equal amounts of white and silver
powder. Coat the surface with one layer
and allow to dry completely. Add the
second layer to achieve a natural pearl
finish resembling the real shell.

STEP 16 The interior of the real shell (top in STEP 17 Place the real shell lid next to the STEP 18 Continue layering the colours as
the photo) has visible areas of thick white sculpted shell. Paint a light brown uneven shown whilst allowing each to dry completely.
patterns without a pearl finish. Mix some layer leaving white areas untouched. Add black colour accents. Allow the surface to
Saracino royal icing to a flood consistency. dry completely before proceeding.
Pipe the royal icing in swirls and allow to fall TIP
naturally. Dry completely. To add an accurate realistic look , outline
the edges of layers with edible markers
and blend with a brush dipped in clear
alcohol.
STEP 19 Making the oyster flesh: combine STEP 20 Shape a 14g ball of the combination STEP 21 Pinch and shape the thicker end with
Saracino Arati Mirji flower paste with paste into a teardrop. Smooth the edges and index finger and thumb to create a dome shape
modelling chocolate in a 40/60 ratio by flatten on one end as shown. Use the real shell as shown. Create a small crater with the
weight. Form a 35g ball as shown. This will as a reference for size. Dresden tool at the thinner end. Flatten the
be the base colour of the flesh. Use reference Place the shaped paste into the real shell front edge and use a blade to slice horizontally
photos to match the colours required. Pinch TIP to check the size and fit. Adjust forming two ‘lips’. Add grooves.
off three small balls and colour white, black accordingly by pinching off small
and rose beige. amounts.

STEP 22 Add a vey small ball of the rose STEP 23 Place the sculpted oyster inside the STEP 24 Use black, grey, white, yellow and
beige paste into the crater, flatten and shape. shell and gently press down. Use a Dresden caramel gel colours. Dilute each gel colour
Roll a small piece of the white paste into a tool to complete sculpting the surface while with clear alcohol. Paint the black edge with
horse shoe and flatten. Glue the horse shoe at constantly referring to images. white, black and grey blending in the colours.
the front of the oyster. Add a very thin rope Combine yellow and white and paint different
of black paste outlining the edge, press and areas of the oyster to give depth. Finally mix
cut with a very fine scissors to form a brush caramel with clear alcohol to create a very
edge. diluted colour and using a large brush create a
wash effect by sweeping the brush lightly over
TIP Use cocktail sticks to separate the two
the whole surface. When completely dry add a
‘lips’ as shown. Allow to harden into
dab of edible glaze to the surface.
position.

STEP 25 Asparagus dish: use an oval cutter STEP 26 Strawberry dish: Roll 16g of Saracino STEP 27 Oyster dish: colour 55g of Pasta
measuring 4 inches by 6 inches. Roll 35g of Pasta Bouquet. Form a circle with a 5 inch Bouquet grey. Roll the paste and cut a circle
Saracino Pasta Bouquet and cut an oval shape. cutter. Place the circle on the former selected. with an 8 inch diameter. Dust with cornflour
Place inside the former dish as shown adding Add a small pearl border with edible glue. Dry and place on the former. Dry overnight.
a small pearl border. Dry overnight. overnight.

72
STEP 28 Steam to remove residual cornstarch. STEP 29 Mix gold lustre powder with clear STEP 30 Pepper: Colour 5g of Pasta Bouquet
Glaze the oyster dish as shown. Set aside to alcohol. Paint the edges of the asparagus and black/grey, navy, light brown and caramel. Roll
dry. strawberry dishes. Set aside to dry. out paper thin pieces. Dry until brittle. Crush
with a large ball tool.

STEP 31 Making a half lemon: colour 40g STEP 32 Making the cut lemon: use a STEP 33 Glue a tiny ball in the middle and
white modelling chocolate with yellow and combination paste of 60% Pasta Scultura / form the centre with a ball tool. Roll out a
beige. Form into a ball and place on a mat. 40% Arati Mirji flower paste. Combine the small piece of flower paste and cut 8
Starting half way down the ball use index two and colour 40g lemon yellow. Shape the rectangular pieces as show. Glue each piece to
finger and thumb to gently stroke in a lemon (step 31). Leave aside to harden for join the centre to the edge forming segments.
downward motion creating a wide base and a an hour. Roll tiny pieces of Pasta Scultura to form the
dome shape. Elongate the point to create the flesh and attach within the segments. Set aside
tip. With a real lemon as a reference, shape Turn the lemon half over and cut away a to harden.
and indent the surface to create a realistic circular piece to a depth of 8mm and a
lemon skin. Texture the surface with a thickness of 3mm ‘flesh’ all the way around.
cocktail stick and small ball tool. Airbrush Cut a thin circle of paste and glue to cover
with a yellow lemon colour. Dry completely. the base. Form a sausage ensuring it is the
Dust with yellow, green, and brown to add diameter of the lemon. Bend the sausage
depth. Steam to set the dusting. back supporting with two fingers while
pinching the front with index the finger and
thumb of your other hand. Repeat this
process 8 times along the length of the
sausage to create the effect seen. Curve the
shape forward and use the ball tool as
shown to shape and smooth each
indentation. Flatten slightly, use edible glue
to attach on the base.
STEP 34 Lemon seeds: form small teardrop STEP 35 Sprinkle 14g of gelatine powder on STEP 36 Parsley: colour 5g of flower paste
shapes with modelling chocolate. Cut in half 85mls water. Allow to bloom. Microwave until green. Roll very thin. Place a parsley leaf on
and colour with edible markers as shown. Set melted. Skim the froth from the surface. With the paste and imprint into the paste with a
aside. the tip of a toothpick add tiny amounts of rolling pin. Cut around the contour of the
yellow and white. Pour into the segments of impression made with a blade. Add a small
the lemon. Allow to set slightly. Before it is stalk and thin the edge of the leaf with a ball
completely set drop the seeds into the surface tool.
and gently submerge them.

TIP To ensure you have control over the

placement of the gelatine solution use a
dropper to place exact amounts in each
segment. To create a realistic effect
make lines in the gelatine with a blade.

STEP 37 Butter curls: colour a small piece of STEP 38 Chopped spring onions: divide a STEP 39 Strawberries: Shape 3g of red Pasta
modelling chocolate pale yellow. Roll to a ball of Pasta Bouquet into four pieces. Add Model into a cone. Pinch the base and form a
thickness of 4mm on an impression mat. Cut leaf green and yellow gel to each piece in small stalk. This will be used to hold the
thick strips and roll on a celpin dusted with varying amounts to achieve the colours as shape to avoid distortion. Using a toothpick at
cornflour. Add shine to the surface with shown. Roll the paste very thin. Cut into a 45 degree angle, make tiny indentations with
Liquid Shiny glaze. strips and wrap each strip around skewers the tip on the entire surface. Form tiny yellow
to create different sizes. balls and press into the indentations. This is a
tedious process but well worth the effort to
achieve a realistic effect. Form the stalk using
a small calyx cutter, thinning the leaves with a
Dresden tool. Attach to the base. Coat the
strawberry with Liquid Shiny glaze.

74
STEP 40 Pecans: colour white modelling STEP 41 Cashews: colour some modelling STEP 42 Almonds: colour modelling chocolate
chocolate with chestnut gel colour. The chocolate caramel. The amount of paste used medium brown. Each almond required
amount of paste used varies between 1.8g - varies for each cashew (1.3g - 2g). Repeat the approximately 1.5g of paste. Repeat the
2.5g for each pecan. Press small balls of paste moulding process in step 40. Dust with dark moulding process from step 40. Unmould the
into the mould and push into all the areas to brown and yellow mixed with cornflour. almonds and dust with dark brown. Add white
ensure the mould transfers onto the paste. speckles with a paint brush using cream
Unmould the paste and dust with dark brown powder colour mixed with clear alcohol.
and black to add depth. Mix cream powder
with clear alcohol to form a thick mixture, dab
on to the pecan to create characteristic light
marks.

TIP After pressing the paste into the mould

place in the refrigerator for ten minutes,
this will minimise distortion of the pecan
when unmoulding.

STEP 43 Whole figs: combine Pasta Scultura STEP 44 Insert the lime green sausages into STEP 45 Fig halves: use the same combination
with Arati Mirji flower paste in a ratio of the vertical slits created in step 43. Press the paste and shape a 30g ball as shown (refer to
60/40 by weight. Colour 30g with purple gel. joints to close the slits and blend firmly with step 43). Cut the shaped paste in the middle
Roll the paste into a ball with a slightly your fingers and modelling tools. Create to create two halves.
wider base. Shape the top by gently ridges and indentations on the surface to
smoothing and pulling the paste upward to mimic a real fig. TIP Place the shaped paste in the
form a stalk. Make five vertical cuts in the refrigerator for ten minutes to minimise
stalk with small scissors as shown. Colour TIP The paste is very soft therefore in order distortion of the shape when cutting.
10g of the combination paste lime green, roll to avoid flattening the base, place the
into long thin sausages and set aside. sculpted fig on a polystyrene half ball to
dry and harden.
STEP 46 Hollow the flat surface of the cut fig STEP 47 Place the sliced coloured paste into STEP 48 Fig skin: roll out 15g of purple
with a blade and smooth with your thumb the fig half and blend the edges with your combination paste into a very thin piece. Place
and ball tool. The centre of the cut fig will be finger. Use red and pink edible markers to the fig half in the centre as shown. Attach the
made from slices of a ‘cane’. This is formed create an uneven outline. Add small dots with skin to the fig half and smooth the surface in
from small sausages of the combination paste the tip of a brush using yellow, white and the palm of your hand.
coloured in different shades of red and pink cream powders mixed with clear alcohol. Insert
with small white sausages in between. the blade in the centre creating very small
Combine the long sausages to create an effect vertical furrows. Colour the centre with red and
as shown. The width of the cane should be a black. Add the rest of the details with a fine
little smaller that the hollowed area in the fig. black edible marker. Allow to dry.
Once you have combined the long sausages
wrap in alternating thin layers of the same
paste in different colours. Place in the
refrigerator for ten minutes to harden before
slicing. Using a ball tool flatten and stretch the
slice as shown until it fits the space.

TIP The thickness of the cut slice should

equal the hollow in the fig. If the slice is
too thin you can add tiny balls of paste
to fill the gap.

STEP 49 Place the fig on the surface skin STEP 50 Turn the fig over and trim the rest STEP 51 Constantly refer to the fresh fig while
side up. Smooth the surface and press a of the skin with a blade to achieve a clean dusting and colouring the sculpted figs in
Dresden tool all the way around. Use small margin line with the inside of the fig. Blend order to achieve a realistic tone. Use black,
fine scissors to cut the excess paste away. in small thin green sausages into the surface navy blue, aubergine and burgundy powders.
and add markings and texture to the Steam the surface to fix the dusting. Mix clear
surface. alcohol with aubergine and white and add
streaks to the skin to blend in the colours.
Finish the surface by dusting with a little
white powder mixed with cornflour. Add a
few areas of white spots using a mixture of
76 white powder and clear alcohol.
STEP 52 Asparagus: make a 60/40 STEP 53 Each asparagus is made from 9.5g - STEP 54 Creating the details on the asparagus:
combination paste with Pasta Scultura and 11g of paste. Shape 5g of green paste into a Use a small piece of acetate folded and secured
flower paste. Combine well and form two balls spear and 5g of light green/lime paste into a into shape to create indentations. Cut along the
coloured with green and lime green gel thick rope. Make three cuts in the rope as indentation with fine scissors. Separate the
colours. Place the fresh asparagus on the dish shown. Attach the rope to the spear using scales. Once the correct shape is achieved
and cut to size to fit comfortably. This will be edible glue and blend in the seams. Use gently ‘stroke’ the spear in one direction to
the template for your sculpted asparagus. scissors to form the scales. close the scales. Add more definition with a
silicone tool.

TIP To create the scales use a downward

pressure motion with the open scissors,
close the scissors partially and lift up as
you remove it. This will form and lift the
scale.

STEP 55 Additional scales: cut very small STEP 56 Dust the asparagus with powder STEP 57 Parma Ham: make a combination
triangles as shown. While referring to the colours: lime green, leaf green, dark green, paste using Pasta Bouquet and Arati Mirji
fresh asparagus observe the scale patterns grey. Continuously refer to the fresh flower paste in equal amounts. Divide the
and add as required. asparagus and observe the way the colour paste into several small balls and colour in
tones blend. Use a dark grey shade between varying shades of dark red, burgundy, orange,
the scales to add depth. Finally dust the tips caramel and beige.
of the spears with a dark aubergine and add
a little white to the bases. Steam to set the
dusting.

Note: cooked asparagus are darker in colour

than fresh asparagus. Refer to reference
photos to adjust the colour tones.
STEP 58 Reference images and a slice of STEP 59 Lie the slab flat and slice thin slices STEP 60 Roll and stretch the slices using a
parma ham to observe the colours patterns. (approximately 4mm thick) horizontally with a rolling pin and ball tools until wafer thin and
Form small sausages of various shapes and very sharp knife as shown. see through. Using a blade and Dresden tool
sizes as shown. Stack the sausages unevenly in add tears and holes in the different areas.
a haphazard pattern with white and beige
interspersed. Once you have the desired size,
press on the slab and compact it by squeezing
and stretching the layers together. Wrap the
slab in a layer of white and beige paste as
shown. Cover in cling film and place in the
refrigerator for 15 minutes until firm.

STEP 61 Fold and arrange the slices as STEP 62 Ice cubes: heat Saracino Sugarplus STEP 63 Wooden board: carve the cake into a
shown and allow to hold their shape and dry isomalt granules in a silicone cup in the rectangle. Coat with ganache. Cover the
out completely. microwave until melted. Heat in 20 second ganache with caramel coloured Saracino Pasta
bursts checking in between if the isomalt has Top. Use an airbrush to layer the colours.
melted and started bubbling. Remove the Form patterns that resemble a natural wood
silicone cup from the microwave and pour grain. Create indentations and imperfections
the isomalt into the mould selected. with a Dresden tool and a blade. Add a bark
Unmould when cooled and hard to the effect on the front edge. Dust with dark
touch. brown.

TIP Do not rest the isomalt after melting, contrary to what we normally do with isomalt , in this
instance the goal is to keep bubbles in and not to get rid of them. Ice cubes have many tiny
bubbles and it would be beneficial to keep them to achieve a more realistic appearance. Spray
the surface with Liquid Shiny glaze, this will seal the cubes and protect against humidity.

STEP 64 Have all the elements ready for assembly. Prepare the oyster ‘juice’ using 14g gelatine
and 85g water (method step 35) coloured lightly with caramel and white. Once cooled use a
dropper to add to the oyster shells. Sprinkle the asparagus with ‘pepper’. Add the parsley and
ice cubes to the oyster dish. Add the remaining elements to the board.

Your Valentine’s grazing board is complete! Bon Appétit!

78
 most
awaited
book‌

80
 INTRODUCING
FIGURINE MAKING
by Zoe Hopkinson BOOK INTERVIEW

What inspired you to write

What was your creative process
"Introducing Figure Making: A
like when developing the various
Guide to Creating Sugar People"?
characters and sugar figures in the
I have always known from a young book?
age I had wanted to do a book, even I wanted to make sure my first book
before I began cake decorating it had covered a wide range of characters
been a dream of mine to write and that included different ages, different
publish one. So, when I began cake positions, different expressions and
decorating and started to build a fan different hair styles. From the very What was the most rewarding part
base the dream came to fruition. beginning of developing this book I of the process of writing and
knew it wanted to cover a series of creating this book?
Who do you think will benefit most
figures where my readers learnt a
from reading your book? Is it The most rewarding part of writing
variety of useful skills that covered the book is hearing from readers
geared more towards beginners, or
loads of different aspects. My book is about how much it has helped them
can professionals also gain new not about just repeating the same
insights? with them with their figure making
process time and time again, it is journeys. That and finally having it
The book is ideally aimed at there to help develop your range of out there for people to buy lol, for
beginners to intermediate but is also skills. My vision was to create a guide those of you who know me I began
super useful for anyone that wants to that showed people a variety of ways this book and completed all the
build their confidence with figure in which to model. figure making projects prior to
modelling. COVID beginning in 2019 - it then
took me several long years to it being
Can you tell us about your favourite published!
figure from the book and why it
holds a special place for you? Do you have any future projects
planned, either in sugar crafting or
I am torn between the footballer and writing another book?
skater boy being my favourite
characters within the book - I just I have already planned about five
think they are both so much fun and more books lol - if the demand is
encapsulate what I enjoy about there, I will get started on the next
modelling - making people smile. one which will be much quicker
 Many readers might find sugar craft
challenging. What advice would you
give to someone just starting out
with sugar figure making?
What do you hope readers will take
Aimed at all skill levels, Zoe's Fancy away after going through
Cakes: Introducing Figure Making: A "Introducing Figure Making"?
guide to creating sugar people
contains the basic foundations needed I hope that Zoe’s Fancy Cakes:
to build sugar figurines, individual Making Figures will inspire and
elements are broken down into motivate anyone with an interest in
‘building blocks’ that complete cake decoration or modelling. I
beginners can follow with ease, created the book to help encourage
developing skills as they work enthusiasm from readers of any skill
through the book. I want the book to level to pursue those creative ideas
inspire readers to get creative with that are hiding beneath the surface.
their own character designs too.
Do you have any advice for readers
who may want to turn their love of
What are some common mistakes
sugar crafting into a business like
beginners make when creating
you have with Zoe’s Fancy Cakes?
sugar figures, and how can they
avoid them? Do it if you love it, it is a lot of hard
work and will test you over and over
By buying my book! In all honesty
again. Having a supportive network of
beginners often try to start with the
friends and family behind you is a
most difficult of creations to model
massive help (Yes, I mean Richard
because they look cooler - master the
lol).
basics first and go from there.
Practice is the key to success with
Are there any particular moments
modelling. What do you enjoy most about
or funny stories that stood out to
you while writing tutorials for this working in the world of sugar art,
What are some of the key book? and what keeps you passionate
techniques covered in the book about it?
that aspiring figure makers should The scene from the movie ‘Ghost’ -
me and my photographer Jane were I just love being able to be creative -
master?
very close in some precarious
There are too many to talk over in positions when shooting certain shots
terms of techniques as soooooo many ha ha.
come into play when model making.
The book is created to build upon Do you have a favourite cake
those needed to be successful at project outside of figure making
making sugar models. that you are particularly proud of?

Do you have a favourite medium or Wow - that’s difficult to say - I have

done soooo many cakes for both
tool that you always use when
customers and video tutorials over
creating your sugar figures?
the years - did you know I have over
My favourite modelling tool is the 1000 free ‘how to’ videos over on my
trusty PME Dresden tool and my YouTube channel (@zoesfancycakes)?
favourite medium for model making My favourite cake project to date was
is always Saracino Pasta Model. the creation of Tom Fletcher’s
Christmasaurus scene for showcasing
82 at Cake International.
 Leprechaun

84
We Love Pastry Cake Decorating Magazine | January 2025

Michael Wehrmann
I’m Michael Wehrmann , 36 years old, born and raised in
Amersfoort, The Netherlands but living in France for almost
14 years now.
I graduated as a pastry chef at a young age, but I quickly realised that
traditional pastry work wasn’t quite what I was looking for—I wanted
something that allowed me to express my creativity in a bigger way.

In 2017, I discovered the world of cake design and was instantly

hooked. Soon after, I launched my own business, Mi’Cakery Atelier &
Cake Design, where I could fully explore my passion for creating unique
edible art.

Modelling, sculpting, and painting quickly became my true passions. Being

entirely self-taught, I developed my own distinctive style, which has
been recognised with several prestigious awards, including Best in Show
and Best in Class at Cake International, along with multiple gold medals.

Today, I’m proud to be a Saracino tutor, sharing my expertise through

@micakery57
classes and demonstrations worldwide. It’s incredibly rewarding to
inspire others and share the techniques I’ve developed on my journey
as a cake artist.

About the project

This tutorial will walk you through, step by step, the intricacies of sculpting a character, starting with the methods for
creating a structure, assembly and support, carving, sculpting, and stacking a cake into the desired shape. You’ll also learn
how to apply ganache to the cake to give it stability and shape.

The process of covering the ganached cake with fondant is clearly explained, along with additional instructions on how to
add a typical cartoon element to the finished creation.

You’ll be guided through the required equipment and ingredients needed to complete the leprechaun. Final facial details
are explained in depth, including tips for painting and colour dusting.

This creation is the perfect addition to your St. Patrick’s Day celebrations, as well as other events, including Christmas. By
simply adapting the colour scheme and painting details—such as swapping his dark beard for a white one and his green
hat for a red one—you can transform this cake into a festive treat for the Christmas season.

Good luck with your creations!

 INGREDIENTS EQUIPMENT
Modelling chocolate white Drum 22.5cm dia.
Pasta Model: white 2 x 25cm M4 rods
Arati Mirji flower paste 2 x M4 Tnuts
Pasta Top: white 4mm nuts and washers
Gel colour: blue, brown, Straws
black, yellow, orange, green 3 cake boards 2 x 10cm
Powder colour: green, blue, and 1 x 15cm
orange, pink, black, white,
yellow, brown
Gold lustre powder
Liquid Shiny glaze
Chocolate cake
Dark chocolate ganache
Golden pearls

Specialised edible glaze used in cake decorating. It provides a glossy, high-

Liquid Shiny shine finish on sugar paste, fondant, chocolate, marzipan, gum paste, or
modelling paste.

by Saracino Commonly used by professional cake decorators and hobbyists, it helps to

enhance the appearance of details on cakes, figurines, or decorations by
giving them a wet or polished look.

It's especially popular for creating realistic effects, such as making fruits,
leaves, or other decorative elements appear naturally shiny.

Edible: Safe for food applications.

Versatile: Works well on a variety of mediums like fondant, chocolate, and
sugar flowers.
Easy to Use: Typically applied with a brush or an airbrush.
Dries Quickly: Once applied, it sets into a durable glossy finish.
86
STEP 1 To make the support of this cake STEP 2 Four feet should be added on each STEP 3 The finished frame should look like
you’ll need 3 cake boards. 2 of 10cm and 1 of corner of the board in order to balance the this. I covered the rods with straws and
15cm. 2 rods of 25cm. 2 t-nuts, some washers board and the cake preventing it from covered the nuts with melted chocolate. There
and nuts. 2 drilled holes in all the boards and wobbling. are nuts and washers on both sides of the
the drum. upper three boards.

STEP 4 Build up the cake, 10cm for the STEP 5 Cut the cake to the desired shape STEP 6 Add the leg with a mixture of some
body, 15cm for the head and a sculpted 15cm cake leftovers mixed with ganache.
for the hat. I used a dark chocolate ganache
as filling.

STEP 7 Smooth the cake with a dark STEP 8 We start with the face. Make some STEP 9 Cover the whole face area with the
chocolate ganache. I used a flexi smoother to rose beige coloured modelling chocolate and same modelling chocolate.
make it easier and smoother. add paste to the mouth/cheek area. I used a
mixture of pink and rose beige Saracino gel
colours.
STEP 10 Cover the body with black modelling STEP 11 Add the shoes. Start with a pear- STEP 12 Add an oval piece of modelling
chocolate. Add blue trousers using blue shaped piece of brown modelling chocolate chocolate on the shoe for the tongue.
modelling chocolate. for the front part. Use a rolled rectangular
piece to cover around the heel.

STEP 13 Shape the sole with a pointed tool. STEP 14 Add some blue paste to make it STEP 15 With brown Pasta Model add a belt
look like overlapping jeans. and create holes.

STEP 16 Create a buckle with the same STEP 17 With light green Pasta Model add STEP 18 Wrap his jacket around his body and
paste. the first two parts of the waistcoat. Let the add shape and movement to make it more
2nd piece overlap the first piece. lively.

88
STEP 19 Create two lines either side of the STEP 20 With a ball tool give the cheeks STEP 21 Make cavities for the eyes and his
mouth with a thicker stick/tool. more shape. nose.

STEP 22 Fill the eyes with white paste and STEP 23 With a knife make a cut for his STEP 24 Open up his mouth and create the
add the nose with modelling chocolate. mouth. lips with a rubber tip tool. Add detail to the
nose.

STEP 25 Add upper eyelids with modelling STEP 26 Add a green circle in each eye. STEP 27 Make this shape and cut it in two
chocolate. pieces to make the ears.
STEP 28 Add them to the side of the head at STEP 29 With orange modelling chocolate STEP 30 Make hair texture with the orange
eye height and blend in. create the beard and hair shape roughly. paste and add several pieces to make it more
lively.

STEP 31 Add two moon shaped piece of STEP 32 Cover the hat part with green paste STEP 33 Roll out a band and add the edge of
paste for the eyebrows and texture them with and add texture by using baking paper. the hat.
a Dresden tool.

STEP 34 Wrap a belt around the hat. STEP 35 Make the buckle and add it on the STEP 36 Make the arms and stick them with
belt. some glue to the body, securing them if
needed with a toothpick.

90
STEP 37 Make the hands. STEP 38 Add them to the body. STEP 39 Make a bow by rolling out a band of
paste. Cut it in two equal parts and squeeze the
end. Fold over and glue them together.

STEP 40 Finish it with a centre piece made STEP 41 Make buttons: With a plunger STEP 42 Add them on his jacket with some
from a folded long string piece of paste. make three circles, with a smaller circle edible glue.
cutter mark them and add two holes with a
toothpick.

STEP 43 With clear alcohol and powder STEP 44 Paint the pupil and add some STEP 45 To give everything more depth paint
colours paint the eyes. white dots in the eyes. all the coloured parts with a very light diluted
paint of the same colour.
STEP 46 Paint the lips and mouth with red STEP 47 Paint the buckle with gold powder STEP 48 Add some blue to the eyes by dusting
powder mixed with clear alcohol. mixed with clear alcohol. with blue powder and a soft brush.

STEP 49 Add some red on his cheeks and STEP 50 Paint freckles on his face with clear STEP 51 Insert a small piece of white Pasta
nose by lightly dusting. alcohol and brown powder. Model in his mouth and cut it in two to create
teeth.

STEP 52 Now make four different shades of STEP 53 Make different sized cobble stones STEP 54 Add texture with some aluminium
grey with Pasta Top to cover the board. and cover the whole drum. foil.

92
STEP 55 Paint it with a diluted black paint. STEP 56 Add laces to the shoes. STEP 57 Make a clover with green flower paste
on a 26 gauge wire and add it to his hat.

STEP 58 Make some coins using black Pasta STEP 59 Add the coins to the drum with STEP 60 Your fabulous cheeky cake is ready!
Model, add texture and dust them with gold some gold pearls as a finishing touch.
lustre powder.

TIP
Use this tutorial for any 3D
cake by simply changing the
details,

such as the hat, clothes, etc.

You can develop the idea
further using the techniques
provided.
 We’re excited to share an important update about one of our flagship products, Pasta Model - modelling paste.

As always, our goal is to provide you with the best quality and satisfaction. In response to the increasing scarcity
and cost of cocoa butter, we've introduced a new ingredient: shea oil.

Shea oil not only preserves but enhances the qualities of our Pasta Model, while a small amount of sustainable
palm oil ensures top-notch quality and environmental responsibility. Here’s what you can expect from the update:

Superior Quality: Shea oil is rich in essential fatty acids and natural antioxidants, helping to keep the product fresh
and stable over time.

Texture and Taste: It provides a smooth texture and melt-in-the-mouth feel, offering the same high-quality sensory
experience you’re used to.

Less Adhesive: Thanks to the addition of shea oil, Pasta Model is less sticky, so you can work with it for longer
periods without it sticking to your hands.

Sustainability: By using shea and sustainable palm oil, we’re supporting responsible harvesting practices and
contributing to the well-being of local communities in Africa.

QUALITY TESTS

We’ve carried out extensive testing to ensure the product’s quality is just as excellent as before. The results speak
for themselves:

Hardness: The new Pasta Model has the same firmness as the original sugar paste before use.

Texture and Malleability: Once you start working with it, the texture and flexibility remain unchanged.

Drying Speed: The drying (or hardening) speed is slightly faster.

Colour and Taste: The colour is whiter, and the taste is even better, thanks to the neutral flavour of vegetable oils,
ensuring your creations maintain their familiar look and flavour.

WHY SHEA BUTTER

Shea oil is known for its moisturizing and antioxidant properties, and it’s a popular choice in the confectionery
industry.

It helps improve the shelf life and stability of products without compromising their taste or texture.
94
 INGREDIENTS:

Sugar 43%, potato starch, glucose syrup, Sugar 43%, potato starch, glucose syrup,
vegetable fats (shea oil, palm oil, cocoa butter), vegetable fat (cocoa butter), cornstarch,
cornstarch, thickener: E466; acidifier: E330; thickener: E466; flavoring
flavouring

ALLERGENS- NO CHANGES

COLOUR
White with shade of cream due to cocoa
PURE white
butter presence

HARDNESS - NO CHANGES
Initially very hard; requires kneading until pliable.

DIFFERENCES:

It may be crumbly at first, but it becomes It becomes very stretchy after kneading, which
stretchy after kneading. The stretchiness is does not impact its workability
slightly reduced compared to the previous
version; however, this does not affect its
workability.

It dries slightly faster than old recipe

BENEFITS THAT HAVE NOT CHANGED

Due to its strength it allows for very thin rolling for elements such as clothes.
Perfect for ruffles.
It’s very flexible, soft, and easy to use and also smells and tastes delicious.
Holds its shape during modelling but also allows for correction and re-
shaping for a long time.
Blends at joints perfectly. making the joints invisible.
Perfect for modelling very small elements, detailed pieces and for moulds.
Easy to colour using gels or powders. It is also easy to dust.

by Silvia Mancini
using New Formula
 GOAL SETTING FOR CAKE ARTISTS:
START THE YEAR WITH A CLEAR PLAN
by Cristina Arévalo

Hello, my sweet friends, a new year feels like a fresh start, doesn’t it? It’s a time to
reflect, dream, and decide how you want your business to grow. But let’s be honest—
dreaming is the easy part. Turning those dreams into reality? That takes planning. As a
cake artist, you already juggle so many roles: creator, marketer, manager, and maybe
even delivery driver. That’s why setting clear, achievable goals is the first step toward a
successful and less stressful year.

Let’s dive into some tips on making 2025 the year you take control of your business with
goals that inspire and energize you, rather than weigh you down

96
WHY GOAL SETTING MATTERS
Setting goals isn’t just about writing a list of things you want
to achieve. It’s about giving yourself direction and purpose.
Without clear goals, it’s easy to get stuck in the day-to-day
hustle, feeling like you’re working hard but not getting
anywhere. Setting goals can help you:

Stay Focused, with a clear outcome it is easier to stay on

track and avoid distractions.
Measure Progress is key to keep you motivated.
Grow Strategically: Instead of chasing every opportunity,
you can prioritize what aligns with your vision.

There are many types of goals you can set as a cake artists.
Think of your goals as layers in a cake: each one builds on
the next. Take a look at these three types of goals:

01. LONG-TERM GOALS (THIS IS YOUR

BIG VISION)
These are your “dreams” goals that might take a year or
more to achieve, like:
Opening your own cake studio.
Launching a line of online classes.
Reaching a specific income milestone.

02. MEDIUM-TERM GOALS (BUILDING

BLOCKS)
theartcakecoach These goals will help you get closer to your long-term goals.
For instance:
cakefriednsstaycreative
Developing a new menu of signature cakes.
The Art Cake Coach Growing your social media following.
The Art Cake Coach Upgrading your photography skills for better marketing.

03.SHORT-TERM GOALS (QUICK WINS)

These are actionable steps you can achieve in the next month
or quarter, like:
Organising your workspace.
Testing three new recipes for Valentine’s Day.
Updating your website portfolio.
 LET’S TAKE A LOOK AT HOW TO
SET ACHIEVABLE GOALS
I like to use the SMART method when setting goals—it stands for
Specific, Measurable, Achievable, Relevant, and Time-bound. Let’s
break it down:

Specific: Instead of saying, “I want more customers,” try “I

want to book three wedding cake orders each month.”
Measurable: How will you know if you've achieved your goal?
Set specific metrics to track your progress.
Achievable: Be ambitious, but realistic. Don’t set yourself up
for failure.
Relevant: Your goals should align with your overall vision for
your business.
Time-bound: Set a deadline to keep yourself accountable.

Here are some tips to set achievable goals:

01. SET REALISTIC GOALS:

Don't bite off more than you can chew. Set goals that are
challenging but achievable according to your knowledge and
resources or even goals that you know you can work towards
achieving or learning skills to make them happen.

02. BREAK THEM DOWN:

Large goals can seem daunting. Break them down into smaller,
more manageable steps. Set milestones to achieve and create a
timeline for your goals.

03.REVIEW AND ADJUST:

Regularly review your goals and make adjustments as needed. It is
ok to change or pivot if something is not working.

REMEMBER
Dream Big: What are your long-term goals for your cake business? Write them
down.
Break It Down: Break down your long-term goals into smaller, achievable steps.
Create a Plan: Develop a detailed plan for achieving your goals.
Take Action: Start working on your goals today.
Track Your Progress: Keep track of your progress and celebrate your successes.
98
Here are some tools to help you stay on track. I also give myself permission to adjust as the year
You don’t have to figure this all out alone! There goes on. Goals are a guide, not a prison.
are many tools and apps to choose from in order Sometimes, life happens, and that’s okay. What
to get your goals set, however, I would love to matters is having a plan to start with.
share some of my favourite tools.
Remember that if you need any help on setting
Planners and Calendars: A good planner can achievable goals, The Art Cake Coach offers you
help you break down big goals into smaller lot ́s of tools, information and even podcast
tasks. episodes that can help you to start the year.
Apps: Tools like Trello or Asana are great for
keeping track of your projects, or simply use So my sweet friend, this year, I challenge you to
a template from Google Sheets or Excel to
take an hour—just one hour—to write down your
keep your goals in check.
goals. Make them bold but manageable. Dream
Accountability: Share your goals with a fellow
big, but also think practically about how you’ll
cake artist or join a community to stay
motivated. Our beloved Cake Friends Stay make those dreams happen.
Creative community as well as the big
Saracino family are here to give you that peer Goal setting is a journey, not a destination. Don't
support. get discouraged if you don't achieve all of your
goals right away. Just keep taking action and you
Now, I love setting goals in the beginning of the will see progress.
year (even before the previous year ends) here is
my personal Goal-Setting ritual. Remember, every masterpiece starts with a plan.

I take a day to sit down with a cup of tea (or Let’s make 2025 your most successful year yet,
maybe hot chocolate—it’s still winter, after all!) one goal at a time.
and reflect on the previous year. I celebrate the
wins, big and small, and look honestly at what
didn’t work.

I follow these step by a session of gratitude

journaling. Here I write down all the things I am
grateful for, good and bad, because we even learn
from mistakes and I can turn downfalls into a
reason to be grateful. Then, I brainstorm where I
want to go next and map out the steps to get
there.

Cristina xx
 Blossom

100
 We Love Pastry Cake Decorating Magazine | January 2025

jennifer golton
I’m Jenny. Sugar craft is my absolute passion in life. I began
learning sugar craft really young in my teens! My love for
the craft is why I became a teacher. I have taught
professionally for 16 years.
Currently I teach fantastic groups of adult learners who all have learning
disabilities. Once my teaching moved to students with learning disabilities
only, I didn’t want my own creative journey to stop as I still consider
myself a work in progress!

I was lucky enough to be invited to submit tutorials to Saracino. This led to

more invitations to other magazines. Currently my day passion is teaching
my wonderful adults who mean everything to me and alongside this I have
this unwavering love to share what I already know to a much wider
audience via magazine tutorials.

I feel extremely lucky to be in the position I am today and I want to

continue to strive to be the very best I can be and share and inspire others
with my two main loves modelling and royal icing.
@sweet_sugarmakes

Project Description
My aim with this project was to create a large and whimsical figure. I love pastel colours so I thought Blossom would
make a perfect project to show off the beauty of traditional Chinese costume and the abundance of blossoms that are so
recognisable each Spring.

Built onto a secure polystyrene structure the figure stands approximately 11 inches high. This is a delightful project to
adapt or redesign using the base structure, but changing the gowns design using your own research of traditional Chinese
costume. My wish would not to be a slave to exact measurement or position of the drapes, but look online to see the wide
range of Chinese gown design and alternative colours too.

The model could also change culture, costume and arm position to create your own unique project or even challenge what
I have created for you with more detail or delicacy.

I feel the most gorgeous thing about this piece is the beauty of the nearly translucent layering of the drapes and veil.
I finished the piece off with a beautiful movement and flexibility using only flower paste. The costume sets firmly, but the
drapes are still flexible and strong many weeks later even in high humidity. They will not break or crack as you apply them
and this is a pure delight when dressing figures.

The cake sides are clean and contemporary and the delicate royal icing piping frames the beauty of the whole piece. I
hope you will gain inspiration and insight by reading about or creating this piece Be safe in the knowledge that she would
keep as a beautiful long-lasting memento for someone you love.
 INGREDIENTS EQUIPMENT
750g Pasta Top or Pasta Rolling pin
Cover Paintbrushes
Pasta Model: 100g blue, Silicone tipped tools
70g purple, 210g rose Craft knife
beige, 230g tiffany, 120g Polymer clay blade
pink, 250g fuchsia, 125g Scissors
brown, 5g black Ball tool
Arati Mirji flower paste Dresden tool
100g Saracino royal icing Wire cutters
20g Saracino cocoa butter Pliers
Powder colour: pink, black, Cake smoother
brown, green, bronze, light Texture mats
silver, rose beige Blossom and flower
Trex or white vegetable fat cutters
Cornflour Two 8-inch cake drums
Edible glue Rose veiner
6-inch dummy cake & cake 28 and 20 gauge white
drum flower wire
Clear alcohol 6cm polystyrene ball
20cm polystyrene cone
Kids craft foam
Flower making pad
Soft sponge
Piping bags
Brown floral tape
Sugar craft gun
Former to sit poly head in
Circle cutters – 1.5cm, 1cm
and 8cm
Number 1 piping tip
Masking tape
Tracing paper
Non smudge pencil
Ruler

102
STEP 1 Coat a 6cm polystyrene ball in Trex. STEP 2 Roll 130g rose beige paste 3mm thick, STEP 3 Gently smooth and define a button
Press on tiny peppercorn sized pieces of rose gently press onto the ball. Use a mini rolling nose using a paintbrush, make sure the mouth
beige paste, one for the nose and one slightly pin to shape the upper part of the face, just area is slightly raised.
larger for the mouth area. above the nose.

STEP 4 Using a silicone tipped tool mark in STEP 5 Use the silicone tipped tool to mark STEP 6 Use a craft knife to cut out the shape
nostrils. in guide lines for the length of each eyelid. of the eyelid.
Using a 1.5cm circle cutter mark in the
upper part of the eyelid.

STEP 7 Refine the outline of the eye as STEP 8 Mark in dots as guides for the outer STEP 9 Using the silicone tipped tool carefully
shown, create neat and accurate lines using a corners of the lips. Gently draw a line across open up the mouth.
pointed silicone tipped tool. to depict a smile.
STEP 10 Use the very tip of the craft knife to STEP 11 Use a paintbrush to shape the upper STEP 12 Shape the lower lip, by drawing
push up the upper lip and push out the lower lip, pushing the paste away from the inside of across and rolling the tip of the silicone tool,
lip. Place the tip of the blade right inside the the mouth using very gentle pressure. manipulate a minute mound of paste for the lip
mouth to do this. creating a subtle effect with no harsh lines. The
head can be left to set overnight at this stage.

STEP 14 Base of the body. Using the

STEP 13 Fix in two pea sized pieces of paste illustration as a guide cut off approx. 4cm from STEP 15 Prepare the dress and drape sections.
to create closed eyelids. These need to be the base of a 20cm polystyrene cone to get the To coat the polystyrene cone use 155g tiffany
rounded out from the sockets so they look full length of the upper torso and lower body. paste. To create fine drapes for the clothing
natural. Set the face to one side to dry Check where the waist line will sit. Indent the knead together 90g of tiffany paste with 90g
thoroughly. waist line with a palette knife. Push a wooden of white flower paste.
skewer all the way through the cone. leaving at
least half 5cm to support the head and 2cm at
the base to insert into the cake board later.

STEP 16 Coat the upper torso with Trex and STEP 17 For the lower part of the dress. STEP 18 Remove the excess tiffany paste from
roll out enough tiffany paste x 2.5mm thick Coat the polystyrene in Trex and roll out the top of the torso section and replace with a
to wrap as show. Bring up some of the paste enough paste to wrap around. Use a small piece of rose beige for the neck. Do not
to depict a neck as this helps refine the shape polymer clay blade to give clean cuts stick this piece on. Make sure you can remove
of the bodice. overlapping and trimming paste and then it. Set the coated structure to one side to set.
104
lightly blending joints at the back.
STEP 19 Coat a 6-inch cake drum in 120g of STEP 20 Once the structure of the body is STEP 21 Fix on two pea sized pieces of tiffany
baby pink paste. Texture as you wish and set dry use 20g x 2 of tiffany paste to mould the for the bust.
aside to dry. shoulders. Smooth the sections down onto the
torso and press indents for the arms later.

STEP 22 Begin to dress the model with the STEP 23 Pick up the model and use scissors STEP 24 If the bust line does not look natural
pasta model and flower paste mix. Roll to trim the sides and top of the shoulders. use a brush to smooth and change the shape.
enough paste to wrap around the upper Don’t worry about blending as this section is
body, roll thin enough to make the paste covered later.
nearly transparent. Wrap a length around the
body. Press the paste together.

STEP 25 Roll more paste to fix the first part STEP 26 Photo shows the side sections of STEP 27 Complete first layer of skirt. Let this
of the skirt. Stick with Trex and use a the dress. These pieces sit on the side only. section dry before you move onto the arms.
polymer clay blade for straight and neat cuts. A large piping tip can be used to cut the
round edges.
STEP 28 Use 20 gauge florist wire for the arm STEP 29 To create the colour for the waist STEP 30 Roll enough paste to wrap around the
support. Use a scriber to push through an band colour mix 5g of fuchsia and 5g of waist. Texture as you desire.
initial hole aiming for the wire to sit at the tiffany to create lilac.
back of the wooden skewer. Use wire cutters
to trim and pliers to bend. The wire will need
removing later. Just gauge size and length for
now bearing in mind human hands end mid-
thigh.

STEP 31 Fix the waist band using Trex. STEP 32 For the back section of the dress. Roll STEP 33 Once happy with the first part of the
enough paste to cover just half of the back of drape, fix with Trex or a little water.
the model. Note I have now removed the arm
wire to make this part easier. Drape the paste
over the model. This part will require trial and
error to size the pieces you require and achieve
a pleasing look.

STEP 34 Photo shows the left drape applied STEP 35 Both drapes will need trimming STEP 36 Move back onto the face. Paint or
and wrapped over the right drape. near the shoulders. dust in the cavity of the mouth using brown.
Fix in very tiny teeth, making sure they sit
behind the lip.
106
STEP 37 Using pale pink powder colour paint STEP 38 For the eyelashes roll black Pasta STEP 39 For the eyebrows mix 5g brown with
on tiny lips. Using a combination of rose beige Model onto kids’ craft foam. Try to size the 1g black. Roll and apply. Try to use the
and pink powder highlight the cheeks, eyelids pieces as accurately as possible. Use scissors to warmth of your fingertips rather than water or
and nose using a full, fluffy brush. trim pieces that may be too long. glue to fix.

STEP 41 Roll approx. 50g rose beige paste

per arm. I use cake smoothers to do this.
Use your index finger to create a dip where
STEP 40 Arms: Re-insert the wire. Bear in the elbow and wrists are. Flatten a tapered STEP 42 Fix the right arm and hand as
mind the arm and hand sit directly on top of paddle shape for the hand. Try to make the shown. Lightly apply edible glue to the wire
this wire, so check the length and re-trim the hand delicate. Cut out a small V shape for and gently press the arm onto the wire.
ends if required. the thumb section and then mark in the Slightly bed the arm onto the wire, this way it
fingertips. One central line and one line to will dry strong once set. The wire should fully
each side. The hand to the right can be left support the length of the hand too. Make sure
with equal sized fingers as they bend under the finger tips are bent so that the wired
to hold the bouquet later. The right-hand bouquet will rest on the thumb as it passes
fingertips will need cutting to a more through later on.
realistic human lengths as they are to be in
view later.

STEP 43 Fix the left arm using the same STEP 44 Once the arms are thoroughly set STEP 45 For the sleeves roll out thin triangles
technique. Take your time with this. TIP – to paint and dust them. Use rose beige and of paste as shown and fold. Open up the front
check both arms and hands are lining up pink to dust and brown paint for the inside with a paintbrush and gently press the longest
correctly ready to hold the bouquet thread a of the fingertips. I covered the model in end of the triangle, but do not stick it together.
28 gauge wire through to check the angle. kitchen roll as shown to stop any powder
falling on the dress.
STEP 46 Fix the sleeve as shown. It was STEP 47 Pick up the model and cut the paste STEP 48 For the wired blossoms colour 30g of
placed over the arm from the back. Gently to create joins, enclosing both sides of the flower paste pink.
pleat together the open edges following the paste together using the scissors. Set aside to
silhouette of the arm. Crease the excess drape dry.
below the hand to form an angular shape.
Repeat the process for the right arm.

STEP 49 Roll the paste super fine and then STEP 50 Make a tiny bend in the top of a STEP 51 Fold the blossom in half again. This
cut approx. 20 shapes using a 5-petal 28 gauge white wire, apply a tiny spot of forms the bud / centre of the flower. Set aside
blossom cutter. Use a Dresden tool to flatten glue to the wire. Thread the wire through to dry.
and curve the blossom on a firm flower the top of the blossom shape and then
making pad. Place onto soft sponge and gently fold in half.
create a dip with a ball tool.

STEP 54 To fix the model to the board. Mark

with the wooden skewer where you need the
model to stand. Push the skewer right down
STEP 52 Finish the display board – Apply a STEP 53 Using pink powder and a large
to the very base. Fix paste to the board and
strip of textured pale pink paste to the edges brush, heavily dust to highlight the pattern
apply glue over the top of the pieces to make
of the board. on the board.
them sticky. Firmly imbed the model into the
hole you have made, making sure the skewer
fits in firmly and the base is secured to the
tacky pieces. Double check that your model is
as straight as can be from the side and back.
108
STEP 55 Photo shows the head in place. Do STEP 56 For the collar cut out two pieces STEP 57 Fix the collar to the neck.
this to check the view of the head and neck from a 1.5cm cutter and cut one edge straight.
and look at the structure as a whole three-
dimensional piece.

STEP 58 Prepare the paste for the hair: STEP 59 Create a cape effect for the dress – STEP 60 Fix the cape onto the top of the
Combine 120g of brown with 10g black Roll flower paste and cut out a circle with shoulders.
paste. Wrap and set aside. an 8cm cutter. Remove a small circle as
shown using a 1cm cutter and cut down so
the cape can be opened out.

STEP 61 Drape the cape lightly and STEP 62 Begin the base of the hair – Roll STEP 63 Apply a light coating of Trex all over
manipulate fine creases with a paintbrush. the brown mix to approx. 3mm thick, cut the back of the head and fix on the circle of
using the 8cm cutter. paste. Use a paintbrush to smooth the edges as
shown and roll the head gently onto the soft
sponge to ensure it is stuck down well. Tip –
Ensure the back of the head is circular. If it is
distorted in any way use more brown paste to
rectify this. Roll and refine in the sponge to
perfect the shape.
STEP 64 Fix the head into a cake dummy and STEP 65 Once the hair is set mould two ears STEP 66 Check the head on the model, but do
using a Dresden tool mark in the pattern of from 10g rose beige paste. Ensure they sit not fix.
the hair. Set aside to dry. firmly against the side of the head. Look over
the top of the head to make sure both ears
line up.

STEP 67 Move back onto the wired blossoms. STEP 68 Flip the flower upside down, STEP 69 Photo shows various stages of the
Cut more blossom shapes, soften and curl as gently let the shape drop onto the bud. Try flower from a bud to a full flower. To increase
previously. Place each shape onto a small not to squeeze the piece to ensure your the size, I added a third layer on some of the
piece of cardboard, lightly glue the shape and petals and open and not pressed tightly blooms once each layer was dry using the
thread the dry bud through. against one another. same technique as previously.

STEP 71 Pick up the head and apply the strips

as shown, gently smoothing the edges of each
piece once they are in place. Some pieces need
STEP 70 Finish the hair. Roll the prepared to be overlapped and some will sit directly next STEP 72 Work your way around the head
paste thin to 2mm. Cut out a circle using the to one another. Follow the markings of the hair from right to left. If the head becomes difficult
8cm cutter and extend the length of the circle that you made previously. Ensure that you pull to hold, place it back into the cake dummy
by rolling it. Mark in multiple fine lines down on the pieces to sit right under the base and work on the hair from that angle.
using a polymer clay blade to create a very layer of hair. Cut and pull out each layer at the
fine hair texture while the circle is intact. Cut front of the hair line and trim neatly both top
out 4 to 7mm wide tapered strips. and bottom using a craft knife. More texture
can be added with a Dresden tool if you
squash any of the fine hair markings.
110
STEP 73 Photo shows the completed hair. The STEP 74 To create the bun, make a flattened STEP 75 Apply as before, but this time overlap
strands that hang down were created in the ball from 18g paste. Cut out and texture an every section and refine with a Dresden tool.
same way as the main hair shapes, but add 8cm circle.
these before you add the fringe and
manipulate with your fingertips.

STEP 76 Fix a small section of a cocktail STEP 77 Decorative drapes for the sleeves. STEP 78 Fix the rectangles to the sleeves
stick into the head, ensure it goes into the Roll and cut out three 2.5 x 4.5 rectangles starting nearest the hand and overlapping
polystyrene base. Glue the stick and gently for each sleeve. backwards.
press on the bun shape. Set the head to one
side to dry.

STEP 79 Optional – Paint the hair once it is STEP 80 Prepare the flower paste for the STEP 81 Roll out the pastes super fine and cut
dry. I used brown powder mixed with slow dress decoration. I used 70g blue Pasta using an assortment of tiny flower cutters.
dilutor. This will look shiny and stay sticky Model plus 70g white flower paste, 70g
until it dries overnight. tiffany Pasta Model and 70g purple plus 70g
white flower paste. Knead mixes together to
give pastel shades.
STEP 82 Apply the flowers, some can sit STEP 83 Create the leaves. Colour 10g flower STEP 84 Dust all the dry blossoms and leaves.
directly onto the dress or some can be more paste green. Using pea sized pieces hand Paint a tiny calyx effect on the base of the
dimensional. Paint the waist band detail with mould tiny leaf shapes onto a 28 gauge wire. flowers that will form the bouquet.
bronze and pale silver powder mixed with To thin and vein the leaves press into a rose
clear alcohol. leaf veiner. Manipulate to a natural shape and
let them dry.

STEP 85 Cut brown florists’ tape into three. STEP 86 Using soft peak royal icing and a STEP 87 Fix a band of paste to the base of the
Tape the bouquet flowers only. number one writing tip, pipe tiny dots in the bun using 30g blue paste.
middle of each flower and on the outer
edges.

STEP 88 For the addition drapes on the STEP 89 Pleat each piece using a wooden STEP 90 Apply individual pieces as shown.
dress. Roll out flower paste till it is almost dowel.
transparent. My pieces averaged 20cm x 8cm
wide. You can use use your own creative
license and inspiration at this point as
traditional Chinese dresses can have many of
these pieces attached and draped.

112
STEP 91 From both sides. STEP 92 A piece draped to the back. Roll and STEP 93 Check you have enough flowers to
cut out the large veil type section for the complete the final decoration.
back. Mine was approx. 9 cm x 15cm tapered.
Apply the veil to the back of the head band.
Let it set.

STEP 94 Create the final decorative touches. STEP 95 Mould a purse type decoration as STEP 96 Fix the purse to the drape of the
I used flower paste mixed with a tiny shown, from 10g pink. Mark with a polymer sleeve using a little spot of royal icing.
amount of fuchsia Pasta Model to create a clay blade and fix on a tiny white tassel. I
pale pink. Extrude a length for the tassel used a 28 gauge wire to help me shape this
ropes. piece, but removed it before fixing.

STEP 97 Fix the flowers and leaves to the STEP 98 Finishing touch – Carefully thread STEP 99 Your wonderful Blossom figurine is
head band. Trim the wires to approx. 8mm through the taped flowers and leaves one at now complete!
before insertion. To reduce any pressure on a time through the hands. Make sure all the
the head, create a hole with a needle and stems sit within the hands and the top stems
then carefully work your way around the rest on top of the right-hand thumb.
headband.
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114
A Slice of Growth PROP OPTIONS ENTERS EUROPE
Innovative UK cake stand brand, Prop Options,
has this month made a bold move into Europe
with the launch of a new distribution centre in
the Netherlands, paving the way for its
ambitious growth plans across the continent.

This strategic move by the growing brand,

which launched in 2018, reinforces its
commitment to delivering exceptional
customer service to its expanding international
customers. By establishing a presence in
Europe, the company promises faster delivery,
lower shipping costs, and the elimination of
import and customs duties.

Prop Options, which designs and creates an unrivalled range of luxury cake stands, serveware,
and props for a growing international audience of cake designers, hospitality venues, wedding
couples, and a fast-growing demographic of baking enthusiasts, is already renowned on the
continent, with a large amount of its international customers currently based in the EU.
Emily Lamb, managing director at Prop Options, said: “For the past four years, our business
has seen rapid growth. This expansion reflects the demand we’ve seen from our valued
partners and customers in Europe. With our new warehousing in The Netherlands, we’re
now positioned to offer faster delivery, with local shipping rates, enabling us to pass on
greater savings to our loyal customer base.”

Until today, EU customers have had to pay

customs and import duties on their orders,
which are set by local governments, for
businesses importing from outside the EU. The
brand’s new Netherlands distribution centre will
reduce shipping costs for standard and priority
shipping, irradicate import taxes and provide
faster delivery – including a fast-track service in
as little as two days.

Emily Lamb adds: “Our expansion into Europe is

not just a major achievement for us as a
business, it’s a leap forward in what we can
provide to the European cake design and events
industries. A huge thank you to our customers
for growing with us and to the entire Prop
Options team, who’ve been unwavering in their
incredible efforts and hard work to bring this
vision to life. We look forward to the next
chapter of growth and innovation!"

SOCIALS: @prop.options EMAIL: [email protected] WEB: propoptions.co.uk

 Enchanted Cottage

116
We Love Pastry Cake Decorating Magazine | January 2025

urska pahor
My name is Urska and I’m coming from Slovenia. Creativity has
been a part of my life for as long as I can
remember.
My fascination with colours, art, and design began early, and baking
quickly became one of my favorite creative outlets, thanks to my
mother, who is an exceptional cook and baker. While I chose a career in
graphic design, my passion for baking and sugar art has only grown over
the years.

In 2011, I discovered the world of sugar paste on television, which

sparked a new love for creating decorative, edible art. Six years ago, I
began focusing more on just sugar paste figurines, and from there, my
project Podivjani Muffin was born. I create everything from charming
animals to imaginative characters, using every opportunity to blend my
design background with the craft of sugar art. Each figurine tells its own
story, and I love exploring new ideas, textures, and techniques to bring
them to life.

Over the years, I’ve taken a few courses, but I’m primarily self-taught @podivjanimuffin
and constantly pushing myself to learn, improve, and challenge my skills. I
have a YouTube channel to share tutorials, techniques, and a bit of my
journey with others who are passionate about decorating. I just recently started
my dream of offering in-person and on-line classes, where I can guide and
inspire others directly, helping them discover the joy of sugar art.

Project Description
I chose this design because it brings together my love for nature, fantasy, and intricate details. The idea of a
tiny, enchanted cottage settled within a shell felt like the perfect way to capture a sense of magic and wonder.
I wanted to create something that would transport people to a different world, like stepping into a fairy tale.

The structure resembles a seashell, transformed into a tiny, magical home. The textured shell is complemented
by small, hand-sculpted elements, including a turquoise door, small windows, and delicate flowers around the
entrance. A stone pathway leads to the entrance, surrounded by mossy greenery and colorful shiny mushrooms,
adding to the fantasy-inspired look.

The inspiration for this piece comes from fairy-tale illustrations and the very recent modern AI creations
that are quickly expanding and taking over our world. The design evokes images of a cozy woodland home,
merging nature with imaginative artistry. This project combines baking and design elements, making it more
than a cake. It was a chance to experiment with textures, colours, and shapes that feel organic yet imaginative.
I also wanted to challenge myself to bring this AI vision to life in a way that felt both realistic and magical.
 INGREDIENTS EQUIPMENT
Saracino Pasta Cover: white 26cm diameter cake drum
Saracino Pasta Model: Rolling pin
brown, white, black, light Sharp knife or scalpel
green, tiffany, red and Aluminum foil
orange Round inox cutter
Gel colours: brown, light Different brushes
blue, ivory, rose beige Silicon brushes
Powder colours: blue, Different flower cutters
brown, orange, pink, azure and silicon veining
and white moulds
Rice Krispie Treat (RKT) Silicone moulds for flower
Cake (or RKT or dummy centers
sphere) Ball tools
Chocolate ganache Veining stick
Liquid Shiny glaze Rose and calyx cutters
Saracino Sugar Plus Peony cutters and veining
Isomalt mould
Clear alcohol Foam pads
Cornflour Long wooden skewers
Edible glue / cake gel Cocktail sticks
Powder Pearl: light gold,
bronze, copper

ca k e
t h e r ea l
e
ad of p h er
I n s te n u s e a s m y
a m
you c T or a du
RK r e.
fr o m sphe

HOW TO MAKE RKT

A 1:1 ratio of marshmallow and puffed
rice.
Mould it with greasy hands as it’s VERY
sticky (I use regular cooking vegetable oil
or Crisco).

118
STEP 1 Prepare some RKT for the base below STEP 2 Cover the middle of the base with STEP 3 Make different shades of brown by
the cake (and make some more for the “shell” some Pasta Cover, coloured light green, where mixing together different amounts of brown
part above the cake). Shape the RKT on a the cake will stand. Cover the bottom level paste, white paste, black paste and drops of
cake drum in a form of a two-level hill. with “sand” colour paste and add some brown gel colour. Roll them and make a “wall”
texture with squashed aluminum foil. on one side.

STEP 4 Cover the rest of the “grass” area STEP 5 Prepare the cake into a round ball STEP 6 Lets prepare the shapes to fill in the
with green Pasta Cover paste. shape with a flat front side and a flat upper windows and door. For the round window we
on one side of the cake, cut slightly diagonal will use isomalt. Prepare an inox round cutter
from the top down. Cover the cake with to the size of the window and fill in the shape
chocolate ganache and cover it with sugar with aluminum foil. With the same foil cover
paste. Cover the front with a light brown the bottom and squish it around the cutter so
paste. On the front cut out the shape of the the isomalt won’t leak out. Coat everything
door and three windows. inside with oil so the isomalt won’t stick to it.

STEP 7 Put a small amount of isomalt in a

silicone cup and melt it in a microwave in
repetition for 20- 30 seconds. When it’s
melted, add a tiny amount of light blue gel STEP 8 With black Pasta Model make two STEP 9 Prepare the background for the
colour and when it stops bubbling, pour it in squares for the other two windows and dust isomalt window cut the shape in white paste
the prepared cutter. Let it cool down and the boarder with blue powder colour. and dust the boarder with blue powder
harden for 20-30 minutes. colour.

TIP
Use less gel colour in isomalt if you want
the “glass” to be more see through. You
can leave the isomalt uncoloured.
STEP 10 Colour some tiffany Pasta Model with
some additional blue gel colour to make it a
more vibrant turquoise colour, roll it and cut a STEP 11 Insert all the pieces in their shapes. STEP 12 Add the tiniest amount of black Pasta
shape for the door. Make two strong vertical Model to white Pasta Model to make a very
lines and with a soft silicone brush make some pale grey and make some rocks (rounded
lines to resemble wood texture. Dust the door square shapes, slightly flatted). With brown
with some blue powder colour on the border Pasta Model make the details for the door -
and on the two lines. hinges, door knob and small balls for
decoration.

STEP 13 Attach the details on the door and STEP 14 Lighten the brown paste we used STEP 15 With RKT, shape different size
arrange the grey stones around the door. for the front of the house with some white “donuts”. Define the sizes to fit well on top of
paste and roll a lot of different size small one another, like a pyramid shape.
When the isomalt is cold, insert it in the balls. Squish them all around the front
window. Make some smaller and thinner stones trying to fill every gap.
for around the windows. Add two brown lines
on the smaller windows.

STEP 16 Colour the white Pasta Cover paste STEP 17 Cover the “donut” RKT shapes STEP 18 This is how it should look. I made
with a small amount of ivory gel colour to with the folded sugar paste all around. With five tiers with a peak on top.
make it a warm white colour. Make long, the same technique cover the “house” cake.
thin strips of paste and fold it together like a
drape.
120
 STEP 21 With a blend of brown, orange, and
pink powder colours dust the draped parts. Put
STEP 19 Prepare some long thick timber STEP 20 Insert two or three skewers into the the house cake on the green base and the
skewers / dowels. house cake at an angle to suit the shell. Insert whole “shell” part on top of the house cake on
all the way down to the base. the diagonal cut part. Add a little brown
powder colour to the textured front of the cake
and on the grey stones around the door and
windows.

STEP 22 Dust some azure blue powder STEP 23 Using ivory Pasta Model make STEP 24 With the same ivory Pasta Model roll
colour to the green part around the house. flattened rectangles for the steps and glue long pointed sausage shapes and texture them
them on the base from the door down, on with lines along the length.
the “hill”, one in front of the other.

STEP 25 Wrap around the front of the house STEP 26 With the turquoise Pasta Model STEP 27 Wrap the strands around the cake,
with some twisting. make thin long pointed sausage shapes for randomly.
the strands, also lightly textured.
STEP 28 With the same colour Pasta Model STEP 29 Apply the greenery around the cake. STEP 30 Prepare a selection of small flower
prepare some bigger greenery. For this I used cutters and silicon veining moulds of your
a cutter from PME. Do not roll the paste too choice. Make some Pasta Model flowers in
thin, we want it to be thicker, chunkier. With different colours and sizes. I made light pink,
a ball tool gently squish every round “leaf ”. peach, rose beige, turquoise, light blue, light
Dust them with Powder Pearl white dust. green colours. Add some dusting to make a
deeper colour.

STEP 31 Add unique, different details like STEP 32 With turquoise, light blue and light STEP 33 Arrange the decorations around the
the textured flower centers, made with a green Pasta Model roll some small balls, cake in small groups.
silicone mould. I made them in earth colours different sizes and dust them with Powder
(two light browns and one dark grey). Pearl white dust.

STEP 34 With the different colours of Pasta STEP 35 Insert the mushroom stalks around STEP 36 Apply some gloss with Liquid Shiny
Model used so far, make a pastel range - take the green base, inserting one part of the glaze to the mushroom caps and the stairs.
a small bit of a coloured paste and mix it with skewer in the base, leaving one part out on
white Pasta Model. With this pastel range the top for the cap. Attach the caps on
make different sizes and colours of mushroom stalks.
stalks (with cocktail sticks) and caps. If you
like, gently dust the caps with different colours
of your choice.
122
STEP 37 Prepare some bigger flowers to add STEP 38 Glue together two flowers, darker on STEP 39 With light pink paste cut some petals
on the shell. We will make a big orange and the bottom, and prepare the centers with a with a regular rose cutter, texture them with a
pink flower and three red ones. Take red and silicone mould. I choose the darker turquoise veiner and let the dry on a foam pad.
darker red (burgundy) Pasta Model and roll Pasta Model for it.
it. With a rose calyx cutter cut two pieces for
one flower, one red and one burgundy. With a TIP
I always make more petals, centers and
veining stick add some texture to each petal. other flower parts than needed, just in
case.

STEP 40 Make the centers with a silicone STEP 41 With different size peony cutters STEP 42 Using a deeper silicone mould for a
mould using a light brown colour paste. prepare the petals for the bigger flower, using flower center make a pink one for the big
orange Pasta Model. Use a veining mould to orange flower.
texture them. Let them dry on shaped surfaces
TIP
You can make a similar shape by adding
(I cut styrofoam balls in half for drying petals).
really tiny balls of modelling paste on a
bigger short sausage shaped paste.

STEP 43 Add a little sparkle to all the flower STEP 44 Attach the turquoise centers in the
centers. red flowers. Arrange the pink flower
- Light gold Powder Pearl for the light brown together by stacking 3 layers of 3 petals
center (for the pink flower) each, slightly rotating. Add the center at the STEP 45 Place the big flowers on the shell.
- Bronze Powder Pearl for the pink center (for end. Start arranging the orange flower. Use a Secure them with edible glue or cake gel. Add
the orange flower) rolled up paper towel to help with the the center in the orange flower. Add the red
- Copper Powder Pearl for the turquoise center petals. Start with the bigger petals at the flowers randomly on the shell.
(for the red flowers) bottom and add petals for a few layers up
by glue them in the center. Finish with the The fantasy shell house is ready to impress.
smallest petals.
 Cake International 2024:
A Sweet Success for

What an incredible time we had at Cake International 2024! From the moment the doors
opened, it was clear this year’s show was going to be a celebration of creativity, talent, and,
of course, cake! As always, the Saracino stand was buzzing with excitement, and we couldn’t
be more thrilled with how the event turned out.

The Saracino Stand: Mini

Classes, “Make It, Take It”
Projects, and Fun!
At the Saracino stand, we were busy from
start to finish. We were delighted to host
free mini classes throughout the weekend,
where cake lovers of all skill levels had the
chance to roll up their sleeves and create
something beautiful. Our “Make It, Take It”
projects were a huge hit, with visitors
leaving the show proudly carrying their
amazing creations—each one crafted
under the guidance of incredibly talented
artists from around the globe.

We’d like to extend a huge thank you to all

the incredible cake artists who joined us at
the Saracino stand. Their expertise,
patience, and passion made this year's
event truly unforgettable. We are so
grateful for their continuous help and
support, and we couldn’t have done it
without them! The smiles on the faces of
everyone who participated were all the
proof we needed that these mini classes
and projects were a roaring success.

124
 A Special
Shoutout to Zoe’s
Fancy Cakes!
One of the most exciting features at Cake
International 2024 was, without a doubt, Zoe Fancy
Cakes. Zoe herself brought something truly magical
to the event—a kitchen filled with funny animals
baking cakes! Yes, you read that right! Her
whimsical display had people of all ages stopping in
their tracks to take it all in.

The detail, creativity, and fun in Zoe’s kitchen scene

were jaw-dropping. It was like stepping into a
storybook, with each character playing their part in
the baking madness. We lost count of how many
people flocked to see it (and how many photos
were snapped!), but one thing’s for sure—it was a
major highlight of the show! Thank you, Zoe, for
bringing your incredible imagination and skill to
Cake International. You continue to inspire us all.
 Dionis from Di
Cake Studio:
A True Inspiration
Another superstar of the show was the talented
Dionis from Di Cake Studio. His presence at Cake
International brought an energy and level of artistry
that left us all in awe. Known for his intricate
designs and stunning creations, Dionis inspires
millions around the world, and his talent was on full
display this weekend.

Visitors to the Saracino stand were treated to the

chance to see Dionis in action, learning tips and
techniques that make his cakes stand out in the
world of sugarcraft. His dedication to his craft and
generosity in sharing his knowledge is something we
admire deeply, and we can’t thank him enough for
being a part of this unforgettable experience.

126
 BIG THANKS to Vanilla Valley
A Weekend of for selling our products!
Creativity and
Community
Cake International 2024 wasn’t just about cakes—it was about
bringing people together, sharing knowledge, and celebrating
the sweet art of cake decorating. Whether you were a first-
timer learning how to work with fondant or a seasoned
professional picking up new tips from world-renowned artists,
there was something for everyone.

We’re so proud of the Saracino community and everyone who

stopped by our stand to join in the fun. Your enthusiasm and
creativity made the event extra special, and we can’t wait to
see what you’ll make next.

BIG THANKS to the team of fabulous

artists who shared their skills with
all of you!

Nathasja Flapper, Michael Wehrmann, Arianna Sperandio, Tanya Ross, Cristina Arevalo, Barbara Borghi, Manuela Taddeo,
Zlatina Lewis , Debbie Lock, Chloe Cheshire , Sarah Bray, Jennifer Golton, Claudia Kapers, Catia Guida, Aimee Ford, Tanja
Campen, Radoslava Kirilova, Kate O'brien, Joanne Bromfield, Beata Tomasiewicz, Marica Miltenović-Lazarević, Doreen
Zilske, Rose Macefield, Fouzia Mahmood, Mariama & Kamelah Fernandez, Yasmin White

Thank You and

See You Next Year!
To everyone who visited the Saracino stand, took
part in our mini classes, or worked on a “Make It,
Take It” project, thank you! Your passion for cake
decorating is what makes these events so special,
and we’re honoured to be a part of your journey.

And to our incredible artists—thank you for sharing

your time and talent with us. We’re already looking
forward to seeing you again at Cake International
2025, where we’ll be back with even more exciting
projects, classes, and cake creations.

Until next year, keep baking, creating, and sharing

your amazing talents with us!
 When Dreams
come true...
an exclusive interview with Lelde Stabulniece - first place
winner in the Life-Size Decorative category at Cake
International 2024

Congratulations on your win! What inspired you to enter

Cake International 2024, and how did you feel when you
found out you’d won?
Can you tell us a bit about your
Thank you! My biggest inspiration has been the people who
winning cake? What was the theme,
believe in me and encourage me to participate in competitions
and what story were you aiming to
and follow my dreams. I am deeply grateful to everyone I’ve
tell through your design?
made cakes for, as each creation has been a lesson that helped
me improve my skills. Winning first place in the Life-Size Initially, I had a different idea in
Decorative Category and a silver award from the judges means mind, but I realized that transporting
so much to me, especially since this was my first time such a tall cake would be a challenge.
participating in Cake International. It has truly inspired me to I decided to create a Christmas-themed
work even harder in future. design instead, as it allowed me to
include animals, which I love
sculpting, and embrace a theme that is
very close to my heart. The festive
theme also made it easier to create
something I truly enjoyed while
incorporating various techniques into
my work.

128
Cake International is known for its high
How does Saracino compare to other
standards. What were some of the unique
brands you’ve used in the past, particularly
challenges you faced while preparing for
for a competition piece where precision is
the competition?
key?
The biggest challenge was the sheer size
of the cake. I underestimated how many Saracino is exceptional because it holds
materials I would need, and it ended up up well against moisture, which is
being extremely heavy—it took two men crucial for maintaining the integrity of
to lift it into the van. We had to remove competition pieces. I know I can rely on
three doors in our house, including the Saracino to ensure my figures stay intact
front door, and dismantle half of the and maintain their shape. Additionally,
kitchen furniture just to get the cake out! Saracino Pasta Top tastes much better
than other fondants, making it ideal for
Adding to the chaos, the van we both competition and everyday cakes.
specifically ordered to fit in at least 2 m Your cake looked incredible! How long did
high cake and pre-booked month in
it take you to complete the whole design
advance turned out to be the wrong size.
from start to finish?
We only realised this the night before
we were set to leave, and with no It took about two months. As a
alternatives available, we had no choice perfectionist, I started early to give
but to cut off the top arch of the cake. I myself enough time to fix or rework
was heartbroken and in tears, as I knew anything I wasn’t happy with. For
it would ruin decorations and be example, I initially sculpted the deer
difficult to reassemble. Despite this, my with modeling paste and painted it but
husband and dad cut the top off and later switched to Pasta Scultura for a
helped me to fix it back on once we You used Saracino products in your cake. more realistic fur effect. I also reworked
arrived at the cake international. Why did you choose them, and how did the owl and parts of the arch several
Unfortunately, all the flowers and times until I was satisfied.
they help you achieve your vision?
decorations on the other side of the arch
Earlier this year, I participated in my
were damaged beyond repair. It was a
first-ever cake competition to familiarize
stressful journey, but seeing the final
myself with how competitions work.
piece displayed made it all worth it.
During that process, I tested several
popular brands to find the best one for
Cake International. Saracino stood out
for its quality and reliability, and since
then, it has never let me down.

Were there any specific Saracino products

or techniques that played a key role in
your design?
I primarily used Saracino modeling
paste, as I buy it white and mix the
With so many talented bakers competing, colours myself. I also used the flower
what do you think set your cake apart and paste and Isomalt, which worked
beautifully, and Pasta Scultura for
helped you win?
creating a more realistic face and
I believe what set my cake apart was the natural-looking fur.
immense amount of effort and heart I
poured into it. I dedicated myself fully
to every detail, making it my top
priority. I didn’t count the hours or
resources it took—I just focused on
creating a cake that I would like myself.
My goal was to make every element as
detailed and polished as possible, and I
think that dedication resonated with the
judges.
 Can you describe some of the techniques Lastly, do you have any personal “secrets”
you used in your cake, and were there any or tips for working with sugar paste, flower
new methods you learned specifically for paste, or other elements that helped you
this competition? achieve such a fantastic result?
I didn’t have much experience with

Passion and
isomalt before, but following instructions
it was pretty easy to create a stained-

determination
glass effect. My first attempt was
promising, I even wanted to make a

are the biggest

painting effect on my stained glass, but I
made the mistake of adding black

secrets.
outlines with lace mix, which caused the
Isomalt to melt.

I had to start over and decided to leave Achieving something great takes time,
the glass as it was originally poured. patience, finances, and persistence. Use
the best ingredients, practice often, and
Thankfully, the judges appreciated it trust the process. With Saracino’s
and left positive comments. It was a products, you can achieve excellent
great learning experience, and Saracino’s results. For instance, Pasta Scultura
Isomalt was fantastic to work with. I works better with tools than warm
also made flowers, sculpted, made edible hands, while moddeling paste benefits
moss, made snow effect with powdered from kneading for the perfect
sugar etc. consistency. You’ll learn these nuances
What’s next for you? Do you plan on
as you practice.
Were there any unexpected challenges entering more competitions, or are there
during the creation process, and if so, how any new projects on the horizon?
Cake International was truly inspiring—
did you overcome them? I recently participated in another it showcased so many incredible cake
Apart from the transportation issues, the competition at The Cake & Bake Show artworks and inspired me to try new
biggest challenge was the amount of in London, and I’m waiting for the techniques and possibilities. Thanks to
materials and ingredients needed for results on December 1st. I plan to Saracino for being such a big part of this
such a large project. The cake was continue competing to improve my skills journey and helping sugar artists like me
heavy, big, time-consuming, expensive and prove myself as a sugar artist. My achieve our dreams.
and required a lot of planning. I dream is to find the right opportunities
couldn’t have done it without the to establish myself in the sugar art
support of my husband and dad. And of world.
course, my perfectionism often made
things harder, as I kept reworking
elements until I was truly happy with
them.

What advice would you give to other

bakers aspiring to compete at Cake
International, especially those who may be
using Saracino products for the first time?
Choosing Saracino is already a step in
the right direction—they’re reliable and
perfect for avoiding moisture issues or
fragile results. My advice is to never give
up, even if something doesn’t look how
you imagined at first. Keep trying, as
every attempt is a chance to learn and
improve. Challenge yourself, focus on
lelde.stabulniece
details, and always aim for neatness.

130
Vanilla Muffins
Ingredients
170g plain flour 2- 3 teaspoons of Saracino Vanilla
1 level teaspoon of baking powder Food Flavouring
1/2 teaspoon of bicarbonate of soda 2 teaspoons vanilla sugar
A pinch of salt 150g sugar
150g softened butter 2 tablespoons milk
3 medium eggs

Method
for Lemon muffins use Saracino
Preheat the oven to 180°C (160°C fan) with the top-and-bottom heat Lemon food flavouring and replace
setting. vanilla sugar with caster sugar
Sift the flour into a bowl, then mix in the baking powder, bicarbonate
of soda, and salt.
Cream the butter, sugar, and vanilla sugar with a mixer on high for 3-4
minutes until fluffy. Add eggs one at a time, beating on low for 60
seconds after each. Mix in vanilla flavouring.
Combine the dry ingredients with the wet mixture, mixing briefly on
low. If the batter is too thick, add milk gradually until smooth.
Divide the batter into a lined muffin tin. Bake for 25–27 minutes on the
lowest rack. Muffins are ready when golden and a toothpick comes out
clean.
Cool in the tray for 10 minutes, then transfer to a wire rack to cool
completely.

Sprinkle a small layer of uncooked

rice grains into each muffin tin cup
under the paper cases. The rice will
absorb any excess grease during
baking, helping to keep your paper
cases clean and grease-free.
 Crazy Cow

132
We Love Pastry Cake Decorating Magazine | January 2025

Angelique van
Veenendaal
I'm Angelique, an experienced professional in the cake
decorating industry.

I’ve been fortunate to achieve a number of things in the industry.

I’ve won several national and international awards, contributed tutorials to

magazines, run sculpting workshops, and taken part in various global
collaborations.

I’m quite familiar with the cake decorating world, having worked as an
ambassador for Saracino for several years. For the past few years, I’ve
owned Cake Garden Houten and co-owned the web shop
CakeSpecialist.nl.

@@cake_garden_houten

Project Description
Spring makes me feel MOO-velous!

This playful tutorial is all about embracing creativity and learning new techniques to make your cake designs stand out. It
demonstrates various methods for achieving sharp edges on different types of cakes using Saracino fondant, ensuring a
professional finish every time.

In addition, you’ll discover how to work with isomalt in a simple and approachable way, making it easy to add stunning,
glossy decorations to your creations.

The tutorial also guides you through transforming an example drawing or picture into a vibrant, fun cake design, showing
how even a simple concept can lead to a remarkable cake.

With step-by-step instructions, this tutorial focuses on both technique and design, helping you bring your vision to life
while ensuring the end result is both eye-catching and memorable.

Whether you’re aiming for a sleek, modern look or a whimsical, character-inspired cake, this tutorial has you covered!
 INGREDIENTS EQUIPMENT
Pasta Cover: white Thin flower wire
Pasta Top: blue (or use Flower veiner
blue gel to colour white Fence cutter
Pasta Cover) Wood veiner
White Pasta Model Cloud mould for isomalt
Cake Paper Blow torch
Gel colour: green, light Tools
green, white and blue Rolling pin
Powder colour: black, blue Scissors
Sugar Plus Isomalt Flower picks
Pasta Bouquet Smoothers
Cakes or dummies Pan for isomalt
Clear alcohol Punch
Piping gel Cake drum
Cake boards
Dowels
Ribbon
Foam pad
Drawing of a cow

ownload
d
HERE

134
STEP 1 My starting point was a picture of a STEP 2 Use green gel to colour Pasta Cover. STEP 3 Knead the paste a little (after resting)
cow. I drew the cow on a piece of paper. This The best way is to colour your fondant the and roll out. Fill and ganache your cake. When
is an easy way to transfer the picture on to the day before you use it. The colour will be the ganache has hardened in the refrigerator,
paste. better absorbed by the paste and the paste has you can cover the cake. Roll your paste making
rested after kneading and mixing the gel sure it is large enough to cover the cake. When
colour. Cover the drum with some of the covering a square cake first cover and smooth
green paste. the top of the cake. Then cover the sides and
push the paste to the corners. Use two
smoothers with a straight side. When using
smoothers, smooth the paste from the center of
the sides out towards the corners. Move the
smoothers backwards and forwards to each
other and pinch the fondant off the cake corner
between the smoothers. You will get a very
sharp edge by doing this.

STEP 4 Smooth the whole cake so that there STEP 5 Cover your second cake and make STEP 6 Use a base and dowels to stack your
are no irregularities in the paste. A smooth sure the edges are sharp. Use smoothers like cakes. Make sure the dowels are far enough
base and good paste is very important for we did on the square cake. apart from each other. Apply some ganache
cake decorating. between the cakes to make sure they stay in
place. You can also use a central dowel in
your cake if you want to, if so make sure you
create a hole in your cake board before you
put the cake on it.
STEP 7 You can use Pasta Cover mixed with STEP 8 Roll the blue marbled paste and cover STEP 9 Put dowels in your second cake and
blue Pasta Top to create a marble effect. Use a your third cake. Smooth and give a sharp top place your third blue marbled cake on top.
big ribbon of blue paste and knead this edge. Personally I like soft flexible smoothers
through the white to give a marble effect. I better as I can control it better when smoothing
used blue gel colour in white paste to get my the cover paste.
marble effect by not over mixing. I find this
way creates a better marble effect in the paste.

STEP 10 Put the cake in the refrigerator and STEP 11 Use a sharp tool to trace all the STEP 12 When you traced all the lines,
roll white Pasta Model to create the cow. Make lines of the paper. Press hard enough to remove the picture and use the same tool to
sure you don’t roll the paste too thin, cut out make sure the lines are visible on your paste sharpen the lines of your picture onto the
the drawing of the cow. Put some cornflour on but don’t push too hard. paste. Sometimes it helps if the light falls at an
your paste and place the picture on top. The angle onto your model paste, so you will see
next step is an easy way to copy your picture the lines much better.
onto the paste.

STEP 14 Roll Pasta Model to create the

white fence. Make sure this paste is a little
STEP 13 Use a small knife to cut off the thicker for two reasons: STEP 15 Use a fence cutter to cut out enough
excess paste. Put the excess model paste 1. A fence is made of wood so the fence can fence parts for your cake. Put them aside and
directly in a bag so it doesn’t dry out. Put have some body leave to dry a little bit. You can also use a
the cow aside and leave it to dry for a little 2. We need a good bottom to glue the fence knife to cut out a fence but this will take some
time. onto the edge of the cake. Use a wood more time.
veiner to create a texture on the paste.
136
STEP 16 Now we are going to paint the head STEP 17 Use blue powder colour and pâtissier STEP 18 Use a little bit of white gel colour and
of the cow. Use clear alcohol and black alcohol for the eyes of the cow. Use the black put a highlight on the lens. This gives the eyes
powder colour to paint the black spots onto paint again to create the pupils. more depth.
the cow. Use a small brush with a round tip. I
prefer to use pâtissier alcohol instead of
vodka, because it will create less stripes in
your painted parts.

STEP 19 Use black Pasta Model to create STEP 20 Use a little black paste to create the STEP 21 Use a little piping gel to glue the
some nostrils. Roll a small ball and use a ball lip. nostrils and the lips onto the head of the cow.
tool to create the holes. Add white paste pieces for hair on the head
and ears.

STEP 22 Cut the fences to size and use STEP 23 Put isomalt into a pan and let it STEP 24 When the isomalt has reached 72
piping gel to glue them onto the sides of the melt on a medium heat. Don’t stir, let it degrees take the isomalt off the heat and leave
middle cake. melt slowly and add some white gel colour. it for a little bit so the bubbles disappear. Pour
Shake the pan slowly so the gel mixes with the isomalt into a cloud mould (use a skewer
the isomalt. to help the isomalt into the smaller areas). Let
the isomalt harden.
STEP 25 Use a blow torch to smooth the STEP 26 Use a blow torch to melt the isomalt STEP 27 Use a veiner for the isomalt flowers.
isomalt, let it harden again. clouds at the back or bottom to attach the Cut some small flower wire to size and make
clouds onto the cake. sure the wire will fit into the mould.

STEP 28 Repeat step 23 and use red gel STEP 29 Use a small spoon to pour some STEP 30 Let the isomalt flowers harden. If
colour instead of white. red melted isomalt into the flower veiner. you want to brighten up your flowers use
The first time you will learn how much some glitter and brush the glitter onto your
isomalt you have to add to the mould. Press flowers before the isomalt has hardened.
the top of the veiner onto the bottom part
and let the isomalt harden a little bit until it
comes loose from the mould. The isomalt is
very hot so watch out, use special gloves,
don’t burn your fingers.

STEP 31 When the flowers are hard you can STEP 32 Divide the isomalt flowers on your STEP 33 If you have flowers without flower
put them onto the cake. Use a flower pick if cake. Always make sure to add colour in wire you can fix them to your cake by melting
using real cake. different places on your cake to create a the isomalt with the blow torch.
great design.

138
STEP 34 Use a punch to cut out some circles STEP 35 You can colour the Cake Paper with STEP 36 Use edible glue to fix the sides of the
of cake paper. Use green gel or powder mixed gel or powder colour combined with clear circles together. Fold the circle in half. use a
with clear alcohol to paint grass around the alcohol. The advantage of using pâtissier little bit of edible glue again to fold the half
sides of the bottom tier. alcohol is the paint will go through the cake circle again.
paper. Let the colour soak into the cake
paper. If you use water instead of alcohol, the
cake paper will melt, so be sure you don’t use
too much water to paint. The disadvantage of
using water is that the colour won’t go
through and it melts the cake paper.

STEP 37 Use edible glue to put the green STEP 38 Roll Flower Paste by Arati Mirji STEP 39 Use a ball tool to curl the flower
folded circle bushes onto the cake. Divide and use a small cutter for the white flowers. petals on a sponge mat.
them around the cake.

STEP 40 Use some edible glue or piping gel STEP 41 Glue the white flowers on to the
to glue two flowers together. cake.

STEP 42 Your cow cake is ready, Holy Cow!

 Let’s show you the talent
introducing GOLD winners from Cake International 2024

TOTAL CAKES
used Pasta Model and
Saracino Modelling
Chocolate

CAKE HARMONY
used Pasta Model

RACHEL STOCKTON
used Pasta Top, Pasta
Model, Saracino Liquid
Shiny, Saracino powder
colours and Saracino
Isomalt.

1. Can you describe the creative process behind your competition entry?
The position of the dragon is pretty complex since he’s leaning only on one
claw. This took a lot of time. I started with the dragon without thinking about the
whole exhibit. Once the dragon was done i imagined a scene around him.
2. How did Saracino products help bring your vision to life?
Pasta Scultura is a game changer. It’s so easy to work with! Sculpt and
re sculpt without limits! MI’CAKERY ATELIER AND CAKE DESIGN
140
 JOYCE
WEHRMANN
DURHAM CITY
1. What inspired your competition piece this year?
CAKES
I’ve always been a huge fan of Halloween. My first
piece was a halloween themed cake so i decided to 1. What inspired you to compete
go for a automnal cake with a little cute Halloween at Cake International this year?
twist. I first entered the competition in
2022, and took away two silver
two bronze and a merit.. I loved
2. How do you think using Saracino products gave every minute of it… I knew I
you a competitive edge? wanted more. But unfortunately,
Wafer paper and the dusts were indispensable for last year I became very ill and
me. Wafer paper is so multifunctional, really ideal to unable to attend and even had to
work with, and the dusts add so much vibrancy to close my business, but on
the piece, it makes me happy to work with. improving health I was desperate
to get back to the work I love, so
booked my places in the
competition.

used Pasta Top & Pasta Bouquet

2. Which specific Saracino product was crucial to your design?

I normally only use Saracino products as my go to first choice, unless they are
unavailable, so working with the Pasta Scultura, was imperative to my design ,
and I ordered 6 of them in the February to ensure I had them available. The
quality of the chocolate is second to none, and I knew it was essential to my
work.
DIYA CAKES IT
used Saracino Modelling Chocolate

DOREEN.BY.MY.SUGAR.MOMENTS
used Saracino
Pasta Model

BYOUTIQUE
CAKES
Gold and 2nd place

used Saracino Pasta Top,

Saracino Pasta Model, Saracino
dust and gel colours, Saracino
Ready to Mix Royal Icing,
Saracino Wafer Paper
 SIENNA VAN
BALLEGOOYEN
Gold and 3rd place
used Pasta Model and Saracino
NEW Pasta Cover

HAYLEY VAN
BALLEGOOYEN
Gold and 1st place
used Pasta Model and Saracino
NEW Pasta Cover

SHEREEN VAN
BALLEGOOYEN
Gold and 2nd place - winter
cake
Gold and 1st place - 1 tier
cake
used Pasta Model and Saracino
NEW Pasta Cover

1. How did you incorporate Saracino’s modelling paste into your cake’s design?

Shereen - all my decorations are made from Saracino modelling paste, I was
creating more realistic faces for the first time and the modelling paste really
helped me shape and blend the mouths and noses and keep them characters
standing without support too. For my Christmas entry, I had to make the bunny
ears separately from the body and blend them on to the heads and the ears state
up so well and blended in without seams. Cutting all my windows and doors was
so much easier with Saracino modelling paste as it doesn’t misshape when
cutting, picking up and attaching in place on the cakes

2. How does Saracino’s range support your overall artistic direction for your
cake?

Shereen - the new cover paste was incredible to work with, so easy to ice the cake
dummies with no issues at all and saved me so much time and stress and no need
to repair anything, went on first time perfectly

Hayley - it was very easy for me to ice my cake, because I don’t make cakes all the
time, I am not used to icing cakes, the cover paste was very easy for me to use for
someone who is not a professional decorator it saved me time and worked first
time

Sienna - I used modelling paste for my plates and toppers on my cupcakes and it
was easy to use and nice to shape and cut. When I made the lettuce on my burger,
I could roll it very thin and frill the edges of the paste to make it look like lettuce,
working with the modelling paste made it easier to make my toppers because it
doesn’t crack and break so it saved time and worked well and I could texture it
easily for my brownies
142
HAPPINESS FACTOR CAKES
used Saracino Pasta Model
SUGAR SWEET
used Saracino Pasta Model, Cake Gel, Wafer Paper
Gold Powder Colour

GINA MOLYNEUX CAKES

1. What Saracino products you used?
I used Saracino Pasta Top for the clothing.

2. What does your competition piece represent or

symbolise?
The piece represents my love of fantasy books/movies.

3. How do you feel Saracino products contributed to the

structural integrity of your piece?
I love the stretch and strength Pasta Top gives me, other
sugar paste tears.

GINGER CAT CAKERY

Gold and 1st place - Cupcakes used Saracino Pasta Model to create both pieces
 BARBARA BORGHI
GIOVANNI CAKE DESIGN used Saracino Modelling Chocolate, Saracino Supreme -
Pistachio, Gel and powder colours
Gold and 1st place
used Saracino Pasta Model

ATULAT
R I
G

O
N
CO

NS
!
A huge congratulations to all the gold winners at Cake
International 2024 who showcased their incredible talent
using Saracino products!

Your creativity and skill have truly set a new standard in the
world of cake artistry. It’s inspiring to see Saracino products
play a part in bringing your stunning designs to life.

BLISS CAKE ART Well done on this remarkable achievement – you’ve made
us all proud!
used Saracino Pasta
Model and Cocoa
Butter for painting

144
meet more
winners
TIFFANY DELEV
used Saracino Pasta
Model, Saracino Gel
LJM CAKES &
Colours and Saracino SUGARCRAFT
Ready to Mix Royal Icing used Saracino Pasta Model

NIA’S CAKES AND BAKES

1. What is it about Saracino products that make them your go-to for competition
cakes?
I would say quality and reliability. I have used different fondant brands and Saracino
products are long-lasting and can withstand the rigours of transportation and
display, which is needed for competition cakes. It is also easy to use particularly for
beginners.

2. How did Saracino’s range allow you to explore new creative possibilities in your
design?
Saracino's products have opened up new creative possibilities for me. The modelling
paste is super easy to work with and holds its shape well. It has great texture and
doesn't get too soft in the process of creating your model.

3. Can you share any tips for using Saracino products at a competition level?
Practice: Practice with the products to understand their handling and drying times.
Plan Ahead: Carefully plan your design and ensure you have all the necessary
products.
Store Properly: Store your products in a cool, dry place to maintain their quality.
Experiment: Don't be afraid to experiment with different techniques and colours.

ANKA
LUKACOVICOVA
I used several types of paste for the
flowers, but I like the Flower paste
Saracino by Arati Mirji most. Working
with it is excellent, it can be
necessary and important when
creating flowers.

Saracino Flower paste by Arati Mirji

is elastic, not brittle. It hardens very
well over time and that helps me
shape the flowers the way I need.
SUGAR SWEET
Pasta Model and Pasta Cover from
used Saracino Pasta Model, Saracino
Saracino have proven themselves
Wafer Paper and Saracino powder
for me. I work well with both pastes.
pearl copper
 T'S CAKES AND BAKES
1. Can you walk us through the most intricate detail of
your piece?
I've used Saracino Modelling Chocolate for sculpting the
face which allowed me to sculpt more intricate parts
easier such as the eyes and in particular the eyelids
(which are normally quite difficult to sculpt), a
proportional nose and the mouth all of which made the
face more proportionate and life-like. I've used black
Saracino Pasta Model for the individual eyelashes which I
couldn't achieve with any other paste.
2. Would you recommend Saracino to other
cake artists, and why?
I would most definitely recommend Saracino
products. From my experience, I can say that
Saracino products are very easy to work with and
help to achieve a perfect finish.

THE CAKE CASTERS

used Saracino Pasta Model, Saracino
Modelling Chocolate, Cake Gel and
Powder Colours
ANNA - CAKE DESIGNER
1. How do you approach planning for a
used Saracino Pasta Model
competition like Cake International?
I start planning for Cake International at the
beginning of each year in January. I always
start with what products I am going to use
so I can purchase them ready for when the
Competition schedule and rules are out, for
the category I plan on going in which is
usually Large Decorative exhibit.

2. What challenges did you face when

working with Saracino products?
I have been competing at Cake International
since 2017 and have used Saracino for all
my Competition pieces and have never had
any problems and it’s the only paste I use
and trust with my work as it always gives a
flawless finish and I also find it the best
paste to work with even when it’s hot in the
summer.

T'S CAKES AND BAKES

used Saracino Modelling Chocolate
STICKY SPONGE
CAKE STUDIO
ELLA HOPKINS CROSS used Saracino Pasta
used Pasta Model Model, Saracino
Modelling Chocolate
146
and Pasta Scultura
 MOO CAKES
used Pasta Model
& Pasta Scultura

YEFREMOVA TETYANA
used Pasta Model , Saracino Wafer
paper and powder colours

Congratulations
Congratulations to all the winners at Cake International 2024 who created breathtaking
designs using Saracino products!

Your incredible skill, dedication, and passion for cake artistry have truly shone through,
making your work stand out on such a prestigious stage.

We are honoured that Saracino products were part of your creative journey, helping to
bring your stunning ideas to life. Your achievements are a testament to your talent and
commitment to excellence.

Well done on this fantastic accomplishment – you have truly inspired us and the entire cake
community!
 meet and
more

LES GÂTEAUX DE CÉLIA

What inspired your cake design for Cake International 2024?
My design was inspired by the idea of the true love can be so light and
makes us better. Be alone is great for walk in our own journey, but find
the real love allows you to flight on a better journey.

How did Saracino products help bring your vision to life?

Saracino's products help me a lot, because I know that all is possible
with this products, so I can have no limit with my imagination.

MARIE LAURE
VERONESE-CURTY
used Pasta Model

DAISY CAKES BY SARAH

used Pasta Model

SWATI
DEROLIYA
used Wafer Paper

SUGAR SWEET
used Saracino Pasta Model and
Saracino Wafer Paper

ILONA ZOLTANI
148 used Pasta Model
MICHELA LINGIARDI
used Pasta Top

DEICH QUEEN
used Pasta Model, Saracino Wafer Paper and Saracino Pasta Bouquet

SABINE ZIEBEGK
used Pasta Model

ALBENA BOJIDAROVA
used Pasta Bouquet

NARCISSUS_SUGARART
1. What was your creative process when incorporating Saracino
products into your cake design?
As a topper artist, I always seek to combine creativity and quality.
Saracino products allow me to bring my complex and detailed
designs to life with high accuracy. From selecting vibrant colours and
appealing textures to achieving fine detailing, these products give
me the freedom to turn my vision into reality.

2. Did Saracino products offer any unique benefits in your design

that other products couldn’t provide?
One of the unique features of Saracino products is their high quality
and flexibility, which helps me maintain control and precision at
every step. As someone who works with toppers, one of the
outstanding features of this paste is that even if, after a week, part of
the piece needs repair, I can easily fix that section without damaging
the rest of the work. This paste remains "alive" even after a long time
—it holds its shape and has set but hasn’t dried out, allowing for
repairs. Another point is that even if the paste is left uncovered for a
long period, it doesn’t go bad and can still be used.
I also usually achieve my desired colours by mixing Saracino’s
coloured fondants, so there’s no need to add extra colour. Overall,
these products not only enhance the final result but also make
working with them enjoyable and easy.
 POVERTY VS.
ABUNDANCE
Hosted by:
Doreen Zilske
October 16th marked the 45th anniversary of World Hunger Day. A day that draws attention to the urgent need to
combat poverty and hunger around the world. We can all contribute to this.

Sugar art does not always have to be sweet, it can also address social issues. Poverty is increasing worldwide.
Children are dying because they do not have enough food. Children go to school hungry and pensioners search
through the garbage for something to eat. People are driven from their homes by war, violence and persecution
and are left with nothing.

But where there is need, there is also absolute abundance. A dress is worn for a single day and costs as much as
some people earn in 2 or 3 months of hard work.

A total of 22 cake and sugar artists from 18 countries want to use their art to draw attention to the fact that we
can all do something to make the world a little better.

"Overcoming poverty is not a task of charity but an act of justice. Like slavery and apartheid, poverty is not
natural. It is man-made and can be overcome and eradicated by human action. Sometimes it falls to a generation
to be great. YOU can be that great generation. Let your greatness blossom."
- Nelson Mandela -

MICHAELA RENCES DOREEN ZILSKE PETINKA SDUN

150
 IVETA KOSIKOVA OLJA BRANKOVIC

CHOLYS GUILLEN
IRIA STANKE JORDAN RAICU MADALINA
REQUENA

RITA NOÉ DOREEN ZILSKE ELKE KOCH-ULRICH

 Make sure to tag @Saracinodolci on
social media and remember to mention
which Saracino product you used in
your post, so we can include the details
when showcasing your creation in the
magazine.
by caketerior using Saracino Pasta Model

by maria.scaraia using Saracino by mybeespokebakehouse by mels_amazing_cakes using

Wafer Paper 0.30 using Saracino Wafer paper 0.30 Saracino Pasta Model

by catalinaanghelazucararte by arianna.sugar.art using Saracino

152
using Saracino Pasta Bouquet Pasta Scultura
 you
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s Apr il
in 025
2

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