erica obrien cake design

Some Recent Press

My husband says I change my mind a lot. I guess it’s kind of true. At some point, I decided not to have a press page on my website. (Read this post–it’s actually pretty funny–and you’ll see what I mean.) Then I guess I went ahead and changed my mind, ’cause now I have one.

I thought I’d share some of our most recent press here (although, of course, you could just look at my website.) I’ll not go into detail on every piece of press. Instead, I’ll just share the magazine cover and the page(s) on which my cake was featured. You’ll get the idea. 

Thanks for stopping by.

 

 

 


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Two New Cakes for the Vera Wang App

When you get an email from Anne Chertoff asking you if you want to contribute to the Vera Wang app, you jump on the chance and respond immediately with an emphatic Yes! Yes! Yes! Unless, of course, you’re me, in which case you think the email is just some mass marketing form letter and ignore it completely. Then, luckily, Anne Chertoff persists and emails you again to say she hasn’t received anything back from you, at which point you realize this is real and then you respond with Yes! Yes! Oh, if you’ll still have me, yes! And that’s the true story of how I came to make two cakes for Vera Wang’s new itunes app.

Eric Hildebrand, the stylist on the project, collaborated with Anne Chertoff, the Project Manager, and the Vera Wang art director to conceptualize several vignettes that would feature a Vera Wang dress, flatware, china, stemware, and a cake.

Eric sent over photos of the dresses and collages of the concept and asked me to present sketches. The most challenging part for me was creating a design that was true to my style but also worked with Vera Wang’s classic, sophisticated designs.

The first scenario was The Modernist and featured the Fiona dress in white with orange accents and parrot tulips.

The Modernist cake sketch originally featured three square tiers (I ended up adding a fourth tier but I can’t remember why) because I thought squares more contemporary than round. I incorporated the pleating from the dress and pops of orange found in the invitation around the plaque and dots on the pleats and edible parrot tulips.

In the end, the art director nixed the orange dots in the sketch so the pleats were plain white, and my lovingly hand-crafted gumpaste parrot tulips were replaced with real tulips.

Johnny Miller was the photographer on the project. You’ve definitely seen Johnny’s work before in Martha Stewart’s magazines and books, and while he obviously has a gift for bringing food to life through photographs, it is his personal work that really moves me. His photos are artistic and emotional, and the subjects seem so real (even when they’re not). There’s a rawness to his work that makes it accessible and not pretentious. I’m proud to say I’ve had my work photographed by him.

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The Romanticist scenario featured the Hanna dress, shades of mauve, and platinum.   

The cake I sketched was three tiers of ivory with a cluster of sugar roses and platinum scroll work.

I ended up with a fourth tier on this cake too. My sugar roses were beautiful, but were again replaced with real roses. (I still have them though and might need to photograph them in the future.) I do love this photo.

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Special thanks to Anne and Eric for being so easy and wonderful to work with, and to Johnny Miller for capturing my work so beautifully.

Project Manager: Anne Chertoff
Stylist: Eric Hildebrand
Photography: Johnny Miller

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Cake Trios (and a Couple of Quintets)

I’ve noticed lately that one wedding cake is no longer sufficient. Here are some cake trios we’ve worked on recently (although not thatrecently, because my roses have gotten considerably better).

And who could forget this classic?

Does five count as a trio?

I think I spot a trend.

Photo credit (from top): Lane Dittoe, Braedon Flynn, Henry Chen, T & H Photography, and Ja Tecson.

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Our New Website!

I’ve waited a long time for this. Our new website went live on Friday, July 29th. It took a day or so to work out some kinks, and I might have gotten a little overzealous on the image sizes in the galleries, but it’s here and I love it. I’d like to thank Joe Renteria of Webpage Dynamics, who held my hand through my first website five years ago and exhibited tremendous patience and understanding this time around too. Thank you Joe! Also, I am extremely grateful to my friend Alison Neuru, who translated her skills as a post-production photo retoucher into website designer. Lastly, thank you to Monica Majors of Paper Cut Industries who skillfully designed our new logo. I am fortunate to have such wonderful (and talented and savvy) friends.

Here’s a screen shot of the brand spanking new Erica OBrien Cake Design site. (To see the rest, please visit our site.) I hope you love it as much as we do!

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Introducing Our New Look

You may have noticed that our blog has a new look. Our website will soon be revamped as well. Please visit Erica OBrien Cake Design soon for updates.

Skilled artisans make their craft look easy–effortless even. A good musician offers no indication of the hours and hours of time spent practicing. The same is true for cakes. I often get calls from potential clients–fans, no doubt, of popular television shows like Ace of Cakes–who request a cake for 30 guests in the shape of a Prada shoe sitting atop a Ferrari. When I tell them the price, they’re floored. I don’t blame them: On television, a 40 hour job is edited down to 20 minutes. Combine that with the artists’ expertise, and a challenging cake design looks ridiculously easy.

Logo design is no exception. Effective logos are eye catching, artistic, and memorable, all while accurately representing the organization or business. If you’ve ever thought, “I could do that myself”, you’d be wrong. There is a whole process to logo design. There are fonts to consider, issues of balance, design principles and theories, not to mention the psychology of branding. Color, I found out, is the last step. A good graphic designer, like any artist, makes the whole process look deceptively simple.

I turned to graphic designer Monica Majors of Paper Cut Industries to design my new logo. Hers is an in-depth process that begins with a questionnaire (I just love a questionnaire) about your business. The answers help her identify your style, taste, brand, and look. Then, after careful consideration, she presents “Round 1″ of your logos.

Round 1 includes three options, all in color and black and white. A good logo, Monica explained, should stand on its own and not be dependent on color. She further fine tunes and tweaks the logo in subsequent rounds until she arrives at the perfect design.

These are my “Round 1″ logos. I really liked Option No. 1, but I wanted the logo to somehow be more symbolic of cake. I asked Monica to create variations of Option No. 3 using different fonts and colors.

I narrowed down the colors to pink and a greenish aqua. I liked the round shape because I felt it best represented cake. I thought perhaps we could create a border around the circle to symbolize the piped border found on a cake. Here’s “Round 2″.

Finally, “Round 3″. My idea for a piped border around the logo didn’t have that “clean” look I really like, so we scratched that. While I like a lot of the script fonts Monica chose, they too lacked the streamlined style I’m known for, so I opted for two different sans serif fonts. I had a really hard time choosing between Option No. 3 and Option No. 6 in the Round 2 logos, but I finally settled on Option No. 3. In Round 3, Monica recreated the final design in a variety of color combinations.

And finally, introducing my new (larger-than-life) logo.

Thank you so much Monica. I love it.

Please note: All images are copyright material of Paper Cut Industries and are not intended for reproduction without their express written consent.

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How I Got Started in Cake Design {Part I}

A lot of people ask me how I got started in cake design. Here’s the first part of the two-part story.

It’s ironic that I bake. My mom was not the type to have a home-baked snack on the table for us when we came home from school. She was more the health food type, going to great lengths to incorporate some wheat germ (the kale of the 1970s) into our meals whenever possible. If anything, whipping up a batch of cookies from scratch seemed a task akin to cutting crown molding (which, if you’ve never done it, is basically impossible. Seriously, check out this link and tell me if you think you could do it.) She did encourage us to be creative, however, and was never a stickler for a clean kitchen (though I know she’d disagree). Combine that with the fact that she was a single parent with a full time job, and that gave my sister and I a lot of time home alone to experiment.

Our first mixer was a hand-held one. I assume my mother got it as a wedding gift, but I’ll have to ask her. It looked a lot–though not exactly–like this:

It worked fine early on from what I remember, but in its later years, it became somewhat possessed, turning on spontaneously and without warning, always while resting in a bowl of runny batter, causing the batter to splatter all over the kitchen. In one particularly traumatizing run-in with the mixer, I was demonstrating for my sister how it tickled to gently run ones finger along the blades of a rotating beater, only to have my entire hand rotate along with it and wind up stuck between the two beaters. We had to go over to the next apartment (my mom, needless to say, was not home), with my hand still stuck in the hand mixer, so that our neighbor Joe could free my hand by bending the beaters.

While some of my friends had lifelong ambitions and knew since second grade what their career path would be, I never had any aspirations and never wanted to be anything in particular. Even the career choices most popular among my elementary school counterparts–veterinarian, pediatrician, teacher, lawyer–held no allure for me. My mom encouraged me to pursue whatever made me happy.

In college, I majored in Liberal Studies. Here is a picture of me that I just had to include because, well, it’s friggin’ hilarious. I’m the one with the big hair…Oh, sorry. I’m the one in the center with the big hair.

I graduated in 1991, in the midst of a deep recession and with no clue what I wanted to be or do. I got a job at a real estate law publishing company in Manhattan (I thought maybe I wanted to be a writer; receptionist at a publishing company seemed close enough), and the walk from the 23rd Street F Train exit to my job on 21st and Broadway took me right past New York Cake and Bake. I frequently found myself wandering in, in awe of all the gadgets, tools, and equipment. I had no idea what any of them did, but I was deeply intrigued. The store was like a museum to me, a place to just wonder at all the things you’ll never be able to master. One day in 1995, I walked by and they were advertising an inexpensive Wilton class. I signed up.

I loved the class, like I knew I would, and to make it even better, I was good at it. This is a picture of my very first tiered cake, in the pre-fondant days. Note the quality photography and classic Wilton drop flowers, string work, and ruffle border. I remember that I loved this cake, though looking at it now it’s hard to remember what it was exactly that I loved about it.

Lest this blog post should go on forever, I’ll be telling the rest of the story in a separate post. Please read the rest of my story in Part II.

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