A Bridal Cake Topper You Can Make With Confidence | Nadia Jay | Skillshare

A Bridal Cake Topper You Can Make With Confidence

Nadia Jay, Sugar Flower Artist

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15 Lessons (57m)
    • 1. Introduction to Building a Super Simple Bridal Cake Topper

      2:50
    • 2. The Materials

      1:28
    • 3. A Quick Introduction to Skin Tones

      6:38
    • 4. Getting The Proportions Right

      6:44
    • 5. The Head of The Bride

      7:32
    • 6. Adding the Ears

      0:57
    • 7. The Torso of The Bride

      4:47
    • 8. The Bride's Base

      2:35
    • 9. Making The Dress

      9:07
    • 10. Adding the Arms

      3:05
    • 11. Painting the Face

      2:04
    • 12. Adding Make Up

      1:23
    • 13. The Hair

      3:58
    • 14. Fixing Painting Mistakes

      1:30
    • 15. Adding The Details

      1:55

About This Class

In  this step by step video tutorial, I shall take you through how to build a sturdy and in proportion bridal figure to be placed upon a cake.

  • We will look at how to proportion your models, to ensure that their head, arms and torso are in balance
  • We will go through the correct materials, and mix of mediums to use to allow you to model characters with ease, and to guarantee that they set up firm enough to reduce breakages 
  • We will discuss facial expressions, and I will demonstrate how the placement of features provides us with different levels of cuteness to our characters
  • I will share my top tips and tricks for adding small details with ease

Creating characters out of sugar paste can be very daunting for many people, and some steer clear from this all together. But after having a few mishaps of my own, I trained with some of the best in their craft, learning how to start with a solid foundation for character design, soon developing my own style, and creating characters to look just like my clients... entirely out of sugar!

With this class, you too will build a solid foundation, so that you can transfer the skills you learn here into other pieces of edible art.

Modelling Paste Instructions

Use a high quality gum paste or modelling paste. My top picks are Saracino Gum Paste and Squires Modelling Paste.

Measure the amount of paste you have taken, and mix it in with the same amount of sugar florist paste. 

I use Squires kitchen Sugar Florist Paste.

Then sprinkle a good amount of Tylose ( or CMC) powder onto your mixture, and knead the powder in. 

The Modelling Paste made should feel smooth, without being sticky. Be careful to use the Tylose sparingly. If the modelling paste is too dry, your characters will be more prone to cracking.

Materials

Modelling Paste

Sugar Florist Paste 

OR// Renshaw Sugar Florist Paste

Innovative Sugar Works Tools

Dresden & Veining Tool

Tylose Powder/CMC Powder

Edible Powders Peach/Rose

Cornstarch

Various Edible Food Gel Colours

BBQ Wooden Skewer 

Transcripts

1. Introduction to Building a Super Simple Bridal Cake Topper: Welcome to my skill. Check last How to build a Freidel cake topper. Now many people will stay completely clear of model in anything out of gum paste funded, and it's because a few things will always happen. Either you'll make a beautiful character when it comes to placing it on the cake. It completely disintegrates or your character never really looks like what you thought it was gonna look like. And especially when it comes to animal characters, well, there's a whole room for error there. All I can say is that a one time I try to make a little Labrador out of gum paste, and that thing was not cute. So in this path, I'm going to take you through all the steps that you need to make the perfect bridal cake topper. And then you can transfer thes skills into other projects in your class materials. You will find a template so that all your proportions are correct, and if he worked towards this template, you'll have the right size every time. I've even added some guidance into the measurements of gum paste that you will need for each part. Now in time, this will become very intuitive to you, and you weren't really need the measurements that now it can really help when you're just stopped now. So what areas are we going to cover in this class? We're going to the cat the proportion for each characters on the importance of plan in the sides of your characters before you make. Just to make sure that they do fit on the cake you have in mind, we're going to look at the placement of facial features and how having the eyes further apart come really add to the acuteness of your character. We'll look at how out those timely details on federally items like the is with Absolute East will add ruffles to the bottom of the bride's dress, will make a tiny bouquet of flowers for her toe hold and will even look at how to paint her face with edible food gel. This character is really simple to make on. I would definitely recommend giving this a go. Even if you're a beginner, I will take you through the correct materials to use to make sure that your model set up really firm every time. On the most important thing here that you must abide by in this class is to give your paced enough time to set up through every stage. For example, when we make the head, we want to leave the head for at least 12 to 24 hours to set up before we place it on top of the torso. If you have any questions on away, make sure to post them on the discussion board for this class. Let's get started. 2. The Materials: When it comes to creating your characters, you need a mixture of paste that's going to give you a very sturdy character that will set up really family so that you're able to transport these without breakages and even put them in the post. So what we do is we mix 50% of a high quality modeling paste or gum paste with 50% off a sugar florist paste. So here I'll show you two examples. I even used the sarin Sener modeling paste. Or I will use the Squire's kitchen modeling paste, which is a little bit softer. And then I will mix this in with a sugar florist paste, either from Squires Kitchen for again seven Sener. Now the magic ingredient is tired eyes powder, and every time you mix this 50 50% of modeling paste on flores paste, you also need to Sprinkle in Tylo powder. Need this in to your paste. To get the best material for making models in the class materials, I will list the method of making this paste with the quantities needed. I will say list where you can buy all of these products 3. A Quick Introduction to Skin Tones: So let's look at how to add color in a very realistic way to give you different complexions . We'll start with this jail based color by Wilton, which is an ivory, and this has a kind of warm beige tone with a yellow under Hugh. We're also going to show that if you add a tiny bit of pink toothy ivory tone, you get a lot of a warmer color and more realistic confection. Also look at using this soft beige color, which is as a little bit more depth than the straight ivory color, and I'll show you how this is going to work. If we add colors like chestnut, teddy bear, brown and chocolate, you get a richer color for those darker skin tones. So we're gonna go in initially with the ivory, and I'll show you this against the white gum paste. I like to use a toothpick to add the color so that we just use a small bet at a time, and you just slowly build that color up as you need it. Less is always more so. I just massage this in to the gum paste. Use gloves here if you wish, and as you can see this is how the ivory looks against white paper. If we go in with the tiniest amount of pink, we're really going to take this color up to another level, and that will give you a more realistic skin tone for a Caucasian model. And this is what it looks like you can see against the white. It really has a very natural skin tone color to it, and that is just at in a tiny bit of pink toe ivory. So these are the two colors that we've used here. Now. If we were just to build up the ivory with a soft beige, we would actually get more than East Asian skin tone. So the East Asian skin turns a little bit more trans Lucien compared to the Caucasian. So that's why we haven't added the pink. We've just added this soft beige. You will have to play around with your own color set here. So here we've added a tiny bit of chestnut and then more beige, the smallest amount of chestnut and this is to give us more of an olive skin tone. This is a lot warmer, and you have your soft beige here and your chest nut, but just the smallest amount. If we were to go in over the olive skin tone with a teddy bear brown, we'd get an evil more McCullough. And this is to kind of go of a more skin tanned skin tone more kind of Middle Eastern, well, Arabs. And that's just adding the teddy bed brown to our soft beige and chestnut color. So again we just start in with ivory and then building up the color gradually to get the skin tone that we need rather than go in and with, like, tons of brown color gel or tons of ivory. We're actually considering what colors we're going to use to build up that complexion. So here we used a tiny bit of pink. We've used the soft base for the Asian. We've added more soft beige into our ivory color to get the olive skin tone, and we've added even more into the ivory, along with the teddy bear brown to get a Middle Eastern to mixed race skin tone. We've also added a tiny bit of chestnut as well, to add in a little bit of that red hue, but not too much to remember. The chestnut has a very red undertone. The teddy bear brown doesn't have so much of a red undertone. It's a little bit warmer, so if we add more of this color into our Middle Eastern skin tone, you get more of an Asian or West Indian skin tone. So you've got that very like warm, ready under here. We add more teddy bear brown to this color and a lot more every to really bring up the color on more soft beige. With a little bit of chocolate, which is a little richer and less ready, you get your African time so you have the ivory and pink to get the Caucasian, the ivory and soft beige to have your kind of East Asian skin tone, as you can see here, you have the warm olive skin tone by adding your soft beige your ivory on a tiny bet of chestnut, as we have over here to give you that ready undertone, but only the smallest amount, just as we did with the pink. You have your avian, a Middle Eastern, which is kind of building on that olive skin tone, but adding in lots of teddy Bear brown to get this color. And then you have your Asian and more West Indian skin tone, which you have the chestnut on the teddy bear brown, which makes it a little bit more richer. And then we've gone in with the chocolate to get a really beautiful, rich kind of African skin tone. So you will have to play around with the colors that you have in your own set. I use colors from sugar flair and Squires kitchen. But if you can't get hold of these, then just use what you do have to hand, just making sure that they are gel based colors. Play around with them, play around with the different tones and see what happens. And you can do what I have done here by building out different colors, putting them against the piece of white papers. You can really see the contrast and writing down exactly what you used to get those colors . You'll be able to invent your own color palette that that works with different complexions on. This will really help you along your journey when it comes to model in different characters from different backgrounds, 4. Getting The Proportions Right: where were making characters. In any case, we want to make sure that they will fit comfortably on the tear that we've chosen. So we're going to work on the basis that out here will be six inches across. And we want our characters to sit a little under six inches tall. Now they can be any height. But this is just a size that I find is really comfortable toe work with. So what I like to dio is almost divides. My courage is into sections. Halfway down will be the whites of my carriages. Halfway between this new section, we can place the ulcer and then at the top will have the character's head. Now, as a guide, the body, including the torso and the legs, should be equal to three times the size off the head of the character. So, for example, if you were to take his head, we'd have similar size three times over, running down to get us the rest of the body. And I won't show you here, so shoulders will set. Hit our tools. I will come in here until we meet the halfway line where awaits this and then the legs and in this case, the dress come the rest of the way down to where we sit, sit on the cape, the alls come down from the shoulder and they will sits at the waist, and this will give you the placement of the house. And then, of course, we can have in hair. So it's a really good idea when you're making characters. If you complain them out in a way similar to this, then you have the guide as to the exact height for each part off the body. And just remember, you have the top part for your head and they will take the same size here, and we will do this three times now to give us the approximate land of the rest of the body . Knicks will help your cactus be in proportion. I will leave a template amongst the class materials for you to use referred back to Let's start looking at the face. So the head of my character, the kind of period for shaped like this as I take you through the lesson you'll learn how Teoh give your characters heads a little bit more definition and just make them a little bit more interested than notable called bull shape. But what's also very important about your character design is the placement off the facial features. So the first rule is halfway down. No car, just face I will draw a line is going to be where the is well sicked. About two millimeters is below this. We can place the nice allow character and then about how office sent me to dough. We can place the mouth, all that say hopefully between the nerves on the chin, we put the mouth. You can do the same here on the other example. But what I'm going to show you is the difference that the placement of the eyes will make now for the character in this class. I want my eyes to be family Far popped and mix adds a really cute nous to the character. So where the nose will sit well bay where the ale herbs when the I sit will be the stops off the But I'm going to place my eyes pay for what supplies these eyes. I sit together. Do you see? The look is completely different now in this class, we're going for the clothes eyelid because he's a really simple to paint on. But we can also go for the open I and if we stick to the same principle, Karen halfway down the face not only is add in the nose on the mouth, we could also price little beaded eyes and you'll see as we go along on the class. If you didn't wish to paint the eyelids close, you could always paint a little circle, and it just gives you a completely differently. But the one thing that I'd like you to really take away from this lesson is that by planning out your characters by drawing them on paper fast, you can get some idea of where you want the placement of these features to pay. 5. The Head of The Bride: There's a few different tools that you can use here, but my favorite is this dress done or leaf vein it all. And then this kind of rounded little curve tool that I found an innovative sugar works are put the links to this in the about this section on skill share. So we've got our gun pace, and we're going to add Tyler Powder to make sure that this sets up really well. I'm going to literally just dip my gum paste into the Tylo powder. And, of course, I've colored the gum paste, the preferred color for the complexion that I'm doing. So I've kind of gone with a bit of an olive skin tone. So you want to need this Tyler powder into your 50% of modeling paste and your 50% of sugar florist paste and I also put in the class materials, the approximate measurements Ingram's for each section off the bride's body. So working on the head, we're going Teoh work out. All the creases were kind of rolling this ball round like you would to make a dumpling, so pressing it in words and then working around getting out all the creases we have a nice , smooth, rounded bull and then, looking at our template, you can see that this kind of large forehead it goes in where the eyes and ears go, comes out for the cheap and then goes dips down for like, a little chin were kind of working on the heart shaped face concept. So take the ball between your palms and just very gently press inwards so that you e long gate the face. Then take your thumb on before fourth finger or index finger. Sorry on, Just press down at the very bottom to emphasize the chin. So it is pressing that in, Given our little had some cheek bones on, bring in the drawer, line it and then above way. You've just made that indentation we're going to press. We've both our index fingers so that we bring the top off the head inwards. So where the temples are we just pressing that in a little bit farmer so that we are ready to make the indentation for where the eyes will sit. So as you can see, we're gonna go across with our finger across whether indentation is and we're going to gently press down, rocking back and forth to give us a little indentation and then the eyes will be insect death. This also starts to bring the paste out with the front so that you can add the nose. I'm going to use a little toothpick care, and I'm just going to take the gum paste around and press this in at the side of the head. And this is going to be where the ears will sit, and that is basically in line with the indentation we've made for the eyes again. Just use your template if you need a bit more help with the settings for each of these suspects right now, take in out dressed in tool. Remember, if you lose any shape along the way, just press that back in. There are eyes are going to sit here just above that curve. This is where Ordinaries will set. So we're going to press this paced in woods and then taking the very side of the tool. I'm going to stop pressing up, puts at an angle, pressing that paste out. So just take the side, order a little indentation here at a car so that this would give us the side of the nostrils, and they would just kind of press that in a little more, just to really get more emphasis to the shape or give more emphasis to the shape. And then we'll stop pressing that funding will gum paste up quite a bit more, and then you can just start smoothing this out with your finger. So I'm just going around where I've made all these little indentations and smoothing out so that it looks like it's occurred really naturally and hasn't been forced in with one of the sugar tools. So because I was working on this quite slowly, there are a few little indentations I'll show you use in the innovative sugar worked or how you can get exactly the same effect. What's good about this tour is you can really press upwards on the pace, and because it's a soft it all, it kind of mimics the use of your finger rather than using a sugar craft tall and again, I'm just gonna kind of go in and work. Howell Those creases now, I did work on this very slowly for the purpose of this film, so my little model did have a bit of a kind of crease underneath. That shouldn't really be that. So you'll one should look way better than mine. I've just been trying to work out those creases a little bit. We've my Dresden tool and just kind of pressing it down, bringing out that knows so that it looks like it's occurred really naturally out off the gum paste. We don't want a super protruding nose for this character. We just wanted to be really soft and gentle, and it kind of adds to the acuteness of the look. So here we have the end of a pipe in tip, and this is where we're going to add the impression for the mouth. Now you can do this dead on or her smile can also be at an angle like my one because I wanted her to really look like a blushing bride. So I'm just gonna take the very edge on just make a little indentation so that she has a little smile at the side and they're taking my dressed in tool again. I'm going to make some little dimples at the side of her mouth. So little one here and then another one on the other side. That's not as forcefully put in. It's just a little bit more gentle, but just add some real character, and then I have a toothpick care, and I'm going to just cut this in half because it is a little bit long, and then we will cept the head upon this to dry. So just remember, when you do insert the toothpick to twist it in as you go so that you don't lose too much of that shape that you've been so careful to make, and we'll just press that chin in again. So if you have lost any of the shape, just feel free to kind of go in there and just work it in a little bit more. Remember, you have to work fairly quickly, cause the paste will set up quite soon. And then you couldn't go in unusual template just to help guide you and to make sure that we've kind of got a similar shape here and then set that for at least 12 hours to drive. You want this to be very, very firm before we work on it again. 6. Adding the Ears: to make the years. It's really simple. We're gonna take a small piece of government paste. We're going to cut it in half. And they were going to roll these little balls and then turn them into tiny teardrop shapes , then would just add glues of those little holes that we've made at the side of the head, just a tiny bit of blue. And then we're going to pop in our little teardrop shapes with the pointed end going into that hole so that it fits in that. And then we can actually just squeeze down the size to get a nice little rounded shape for the year. It is so simple. I love doing this because it's so easy. Looks really effective and they're just do the same on the other side. And there we have two. Perfectly shaped is 7. The Torso of The Bride: so next against look at the torso. So we need to add the neck, decide where the breast we go in by the waist and then down to the base of the torso. So taking your gum paste, we have our template here, and we're working towards this shape. So just need that so that you have your tireless powder incorporated really well into that We're going to now roll out around shape downwards that we got a really fat teardrop shape , like such. And then I want you to do the same on the opposite end. So we kind of have a lemon shape. Think of it like that weapon with reedy, overemphasized lemon. But then take one and I'm really roll that down, so it's very pointed, and then we'll start smoothing that down, and this is going to be the neck of our bride, so it is quite thin. You want it to be really long and elegant, so we could just smooth that dance. It's not too pointed, but a lot longer than the base. And with the base, we're going to just work that down a little bit more, so it's a bit longer and smoother. So we have a shape just like this. Now I'm going to look at the template again to make sure that we're almost matching up. I'm happy with the let. That's a good size, but now obviously, we need to kind of at some shoulders on bring the waste in to give her about a shape. So this is where the waste will go. We'll take our two fingers and we're going to just kind of roll that and work it in about 1/3 of the way down. So just above that little point that makes the base of the body just keep working. That in at the side says just two sides don't go all the way around. We just want to use two sides of the paste and then usual thumb to indent underneath is naturally occurring area, and then we'll just kind of pull this round. Even more did really emphasizing that bit there so that we have the stomach on where the rib cage will set and then the breast. So I'm kind of just pressing that in and smoothing that down, really emphasizing that area and given it some depth now above the neck. If we press that in words here we get our call a burn. And then at the bottom, we can kind of pressing again to start to emphasize the chest area against take my dog brain tool on my cone tool. Sorry, and just press in was an angle and then move that all from side to side over the top off the collarbone. So we're kind of working from there down onto the shoulders and then on the bottom, you'll see where I've made a little indentation here. This will split the chest and we'll bring this down and then around the side, off the waist up past where the rib cage would be and kind of just press that tall in words are put a link to this tall in the about this section on the class for you and again, remember, just smooth in those edges to make them look like they're naturally occurring and using the side of your finger. And we can just emphasize this shape a lot more. Just go in and over and over again until it really gives it some death. So I'm just going to take my Dresden tool just to kind of smooth out those little creases. The and there we have the torso. So if I put this against my character, this looks about the right length in shape. And then we're just going to ignore this section here. And I will take this off of your talent late in the documents because this is where her shoulders will sit. So taken your truth, pick. You want to twist it and push it through the neck very gradually once again so that we do not lose that shape that we've just made. And then you push it all the way to the bottom, pressing that neck in so that it's nice and secure against the toothpick. And then again, we will leave this for up to 12 hours to set overnight to dry. 8. The Bride's Base: Now we'll go on to make in the dress So you want a good size piece of white gum paste mixed in with modeling paste on your Tyler's powder as before. And we're going to just work out all the creases in this, making a nice big ball shape again. And then you want to put this onto your surface and then just work the gum paste around, working kind of it upwards are smoothing out the top, elongate in the top so that we're kind of making a teardrop shape. But it will be pressed down against how surface so that it's nice and flat and can stand up on its own. So I'm just gonna keep elongating that so that we have a nice cone shape. And then if I put this against my template, this isn't nice and tall. It does overhang a little bit, but that's absolutely fine. And I'm going to just flattened this down a bit. So it has the whip that we need so that it stands nicely on its own on looks very proportionate to the torso. Off, out, bright. So it was pressing this down, smoothing it out, but keeping it nice and thick. You want a good sickness to this paste. It can't be too thin, because again it needs to be out to stand up on its own. Just like that. See the basis so simple to make. And then I'm going to take my skewer so you can get a barbecue skewer for this because we want something that's a little bit sicker and more sturdy than a toothpick. And I'm going to just push this through the bottom of the dress only about 1/3 of the way through. And then I'm just going to kind of flatten the top off the dress because I need somewhere for that also to set. So if you take a dog burn tool, you can kind of just press this down into the top and then out. Ulcer will sit in there really nicely once everything has set up overnight. No, just give it a really neat finish and make it very secure. So again, we'll just let that piece set up on its own for good, 12 hours or again overnight, ready to be assembled the following day 9. Making The Dress: So to make the top of the dress, we're going to take our template, and we're going to roll out our model in paste own gum paste that's mixed in together as before. So this roll this out on a surface with a nonstick rolling pin, and then we'll just take the template and we will cut around this. So I need to just roll my now a little bit longer so that I can fit the whole template on, and we'll just cut around this and this really should be the right size for the torso that you have made to take a very sharp knife to do this, and then you should get a nice clean edge. So you to do this little sweetheart neckline, you can leave it like it is. Well, you can take a heart shaped cutter and just press in the very top. Teoh give you that shape. Such issues in the top of the heart cutter is how will achieve that, make any indentation and kind of just cutting around smooth and off those raggedy edges. We'll just cut that down at an angle to give it a ready nice shape, just like that and then we will take out will say. And we would just wrap this round so will pop out also into the dress now that it has had enough time to dry overnight. So just taken some edible glue. Or just at this into the little group that we've made a top of our dress and then just press out also in allowing that skewer oral toothpick to press itself into the gum pace and hold everything really nicely in place. And then I'm going to add a little bit of edible blow to the back of the dress just down the center, and then we'll just place this over. I love the torso, just wrapping it around the back and lining up those sides, and I just need to add a little bit more edible blue here. So just put a little bit on the back off the bottle and then wrap one slide round so that it fits into the end, and then we'll take the other side and we will wrap this round again. And I'm not too worried about this little flap that is left. I think, actually looks really nice and makes the dress look quite mature, so I'm just gonna let that sit nicely round on the side and just press that down like so you can kind of to smooth everything can to make sure it's pressed down really tightly. So now we will do the base of the dress to taken out template again. We can just cut this out. So just remember to print off your template. You'll find all of this in the cost materials now toe ads and texture. We can take a portal and just run this along the wide apart off address. So this is the bottom of the dress. I'm just going to roll this so that we get these lovely kind of genital ruffles at the bottom off the dress. You can also go in with a dressed in tool, the back of a paintbrush. Oh, a toothpick even. And just press down on a roll your tool against the base of the dress. Now I want these ruffles to go up higher, so I'm going to go from the base right up to the top and just kind of roll down with this very skinny tool. It just kind of rolling that back and forth so that we get this really interest. Indeed. How are we Add some ruffle in texture to the bottom off our wedding dress. And again, I just want to kind of smooth out the bottom and emphasize those ruffles on the dress. I would just add some glue again to the top of the dress, and then I'm going to just wrap this round both sides, doing what we did before, just kind of wrapping one side down and then talk in the other underneath and again, I'm just gonna let this little bit kind of trail outwards because I just like the look of it. I think it just makes this model look a little bit different toe others that you see, And then you can kind of manipulate the bottom of the gun Peso, that the dress has more texture, a movement, and you can just kind of press this knows our dress. So that's add a little bow. I'm gonna take a little bit of paste and just roll this into a sausage press down the middle and then taking my bootle, I'm going to just press birth. Besides, outwards make a little indentation and then to stop kind of pushing it outwards, rolling it out. I've just died this ivory You can die your boat, whatever color you wish. Then I going to just press the center downwards with my Balto again. Just flatten that out and again just pushed their sides out. So they're nice and wide because we are going to curve thes over onto themselves. So just taking a toothpick, just press down into the center off the shape, and then we'll take a little bit of edible glue and we'll just put that into the very middle. And then I'm just going to call this up halfway, pressing the two sides together and in pressing it down to make a very tiny Bo will do the same with the opposite size. Just come on over and securing it halfway down onto itself. And then we just squeeze that little bit in the middle together. And then what I do like to do is kind of just press that little billow in area in words with my dressed and tall, just to give it more kind of texture and movement. And then, of course, we need to add the little center bit of our Ruben. So it is going to take another tiny piece of gum paste and just flatten this out. And what's really nice about these bows is it is very easy and quick to make because they are just a tiny detail, so they didn't have to be perfect. We'll just add a little bit of glue to the back, over out bar and then wrap this piece of funding well, gum paste. I have, uh, the bar and secure that now just like that, nice and tiny. And I just want to add a ribbon just to this seem here. So I'm just taking the same color gum paste. Just cut a strip and glue that round and just secure in that at the back here. And then I could just cut that little access bit off and then just add my birth very neatly to the back. And it's just really lovely to act tiny details like this to your models. No, you go. And that is the dress finished. It was so simple. Just a few very easy steps, and then you have a very elegant wouldn't dress 10. Adding the Arms: to make the arms. This is a kind of shape that we go before, so it might look a little bit unusual, but you'll really see how this comes together very effectively. So it kind of going out to the top, end in for the wrist and then making this little bubble at the end for the hands. So you want to take a small piece of your gum paste and we're going to roll this now to get this really, even you can use a fund and smoother, and then you will get equal length across the whole of this long sausage that we're making . But I prefer just to roll this out with my hands today. So you're going to roll already. Good length sausage. Unusual template for the size. What, Mr be fairly even. And as you can say, this is about 8 to 9 centimeters long. Fold this in half, and then we're going to just make her cut across the top. So what you want to do is towards the bottom. We're going to start working on where the rest will be, So this will be the smaller part off the fund int or gum paste. I'm just going to start rolling this between our small finger and index finger to get this indentation here just very gently like you can see, and this creates the hand. Now just press down that pace that between your finger and thumb, and then we will just snip the side to make the thumb. You can even press your knife across the top to make little fingers said that the hand bends inwards just like that. And then just add a little bit of glow to the top, where the shoulder is on a little bit to the waste of your bride so that you have something to secure the arm onto. No, you go. That's so simple. We just press that shoulder in a little bit more so it has a better shape and secure that really nicely to the body. We're going to do the same with the other hand and arm cool. No sin that the very top part is where the shoulder wilder. We'll just press that in. So it's nice to smooth and again press that hand down so that we got that lovely shape and remember the placement of your thumbs. The thumb should be pointing upwards towards the bride's face. So we're going to reverse that when we do make the snip on the hand. And then again, we could just press that ends that we got a nice little shape and secure, just as we did with the other arm. 11. Painting the Face: so you'll need a brown edible gel paste or a black edible gel paste. And we're also going with some pink, too, so you can take a graphite pencil and just do a little faint outline of way. You want the eyes in the eyebrow to be placed, keeping them far apart to the Astor. Real cute nous to the bride. I'll show you how to correct any mistakes in the next video, taking your brown Joe pace for the tiny bit on the lid, or you complete this in a pallet and we're going to add a tiny bit off vodka. You want a really high percentage of alcohol. Play alcohol now without 2.0, fine tip paintbrush. We're going to put the smallest amount on the paintbrush and then just gently paint. Where are outline is You can do this freehand if you're confident enough just brushing on the curve on adding a few little eyelashes and then the same we do for the eyebrows would just add a little live for those eyebrows on the lights. Keep my eyebrows quite small again. This just adds a real cute nous to the bride, and then we have some eyes and eyebrows, no bearing with deep pink. We're going to the same as before, out a little bit of vodka to the Joe, and then we'll start painting on those lips. So I'm going in with, like, the top of the heart and then finish in off of a little heart shape point at the bottom. Just building up that color really gradually and just take your time when you do this. Now we have some very sweet little heart shaped lips, and of course, you can use any color that you wish for the lips. 12. Adding Make Up: so goes uses really pretty edible powder. That is a PCI tone, which I think is a lot nicer than going straight in with pink, cause it's just a lot warmer on and more realistic. And then just using a soft round brush, we're going to brush this over the face of our bright So we'll go in on the cheeks and we're just building this up very lightly. So it has to be subtle. You don't need to go overboard because we're just given her a little bit of color and really making her that blushing bright. But what you also want to do is brush a little bit over the tip of her owners. We'll put a little bit across the forehead. Also. I will put a little bit on the side off the is, and this really makes these characters just pop and at another dimension to them, which I just absolutely love on. I'm going to go in with this sound, a word edible dust, which is so sparkly. I love this and we're going to use this across the top of her eyes so that it looks like she has. I shudder on and it's quite translucence. It just adds a little bit of Sonoma but isn't too overboard. No, we go just building that color up. We have a beautiful little bride face. 13. The Hair: for the head. I've died, my gun pace brown, and we're going to use a long sausage peace, and we're going to cut this into four pieces. Taking your first piece, we're going to flatten the bottom end, so be nice around it on one side and a motor kind of flat on the other end of the sausage, adding glue to the top of one side of her head. I know going to place the rounded bit at the very front of her head and then wrap the flattened part around the back just like so, and will do exactly the same with the other piece on the opposite side, making sure that the bride head is extremely fast. And make sure you have let this set up for at least 12 hours or overnight. Ideally, so again, we're just flatten in the back of all sausage, using the more rounded part for the very front Teoh give a really interesting kind of forties Hester survive. There's gonna tuck the rest behind the back of the air, just using our edible glue to secure down any of those loose parts. This is just a nice and quick way to give. Your models are really cool hairstyle. I'm just going to squeeze that down. And then what you want to do is take your ball tour and just make a little kind of dip it in the very top of the head to make sure you're working quickly before the hair sets up, roll out your larger piece of gum paste that you have left, and then we'll just place that on top with some edible. And then you can go in with some little poll drudge eyes and we're just going to push those in underneath the bun so that she has a beautiful little poll hairpiece. It's so simple and so effective. So we'll pop her head on now to the rest of the body, and what you can do is actually position had had a little bit of an angle if you like. So she looks like a true blushing bride play around with the position in. So to add, some little pole areas are going to take a very small piece of white gum paste. I'm going to roll this into a little kind of long lemon shape, as I like to call that cut this in half and then just roll both into tiny little balls and this. Just make sure that they're fairly equal in size, then add in a tiny bit of glue to her, a lobes. I'm going to pop those little polls onto her is and then to add a few ringlets would take a smaller piece off our govern paste in the brown. And we're going to just roll this into a long, squiggly sausage like this, and then just twist this between both our fingers and thumb so that it has a nice little coal Tourette number just at this to the side of the head. Just place in that all now of a little bit of edible glitter. We can kind of use our little vein, a tool to press that in just 12 days ends, and I've done the same with the other side and then in this one hang a little bit longer. You can see it's very fiddly, but you'll get the hang of it. We're just gonna press that into her head so that it holds, and then just position it as you place. There we go 14. Fixing Painting Mistakes: I wasn't that happy with er placement of the bride. So I'm going to show you how to fix any mistakes. So just prop the head up and angles that I could work on it, a little bit of vodka and then you're going to take a cotton more bad. And then we're just going. Teoh brushed the alcohol in a second. The motion across any areas that we want to remove and then taking the clean side that's dry. Just wipe away the excess. You may have to go over this a few times so you can leave that to dry. And then once the area is dry to the touch, we can go back in and reapply the paint where we wanted it. So again, I wasn't happy, so I just brushed that away. Use my pencil to give me a little bit more guidance, and then I could go in really carefully with the paint and adjust the placement of the eyes . I think that looks much better. They were a little bit too far apart that I'm happier with that 15. Adding The Details: now to add the finishing touches. So we're going to take a little bit of green gum paste and going to just break this into about four pieces and then starting with one piece, we're going to roll this into a long teardrop shape and going to roll this out. You can use the end of a paintbrush or a very small rolling pin, and then I'm going to take my knife and just make a little indentation down the middle so that we have our first leaf at a little bit of edible glued to the bride. I'm going to just place this between her hands so that we start to make a beautiful okay, and I'm going to go in and out about three or four more little leaves at different angles, playing around with the direction the set. Just add interest just like that Now, to make some really tiny little roses. Want to take a piece of gum pace, roll it into a long sausage and then roll this out again using this one rolling pin, or you can use your portal. Once you have a long piece, we're just going to take one and and just kind of cold this onto itself and just roll it all the way up to the very end just like this. And they have a very simple little rolled rose. Just add a little bit of glue again, and then we can just start to build these up in between the bride's hands and just put as many as you feel you need. And there we go. She's completely finished now, little brushing bright.