Truffle Guy

You have lots of choices. Depends a bit on what you are looking for. I believe the companies I'll suggest all are good, how good is really a matter of taste. If you are looking for something stunning visually here are some good choices: Christopher Elbow Norman Love Anna Shea Here are some others that are also very attractive but more traditional in appearance: Garrison Confections Thomas Haas The others listed are also good choices. Good luck!

I have not used the machines but I do believe they are solid and the chocolatiers I know that use them have said good things. My scale is actually the problem and why I need these machines. I expect within a month I will be doing 5,000-10,000 pieces per week and want equipment that can scale up. I think it is a mistake to buy for today and not for the planned growth. Also, because the accessories are interchangeable, I can get (2) of the machines and in essence have (2) enrobers or molding machines as well as backup. I've had some unexpected good news on the financial/investment side so I can order 2 machines now. Although I'd like to get an LCM (if money were no issue) that will be where I migrate in 12 months or so. The price is just too steep now. I plan on doing a lot of enrobing and the main reason I've not so far is because of the tedious hand-dipping process, it's just too slow. These machines can do both moulding and enrobing and will open up some doors to enrobed pieces for me. I have enough prospects in the hopper that could drive my production requirements up quickly that I'm willing to take the chance on the Selmi machines. I've not heard anything bad about them. I don't think they will ever be discarded as they are high production machines. It's always a risk but in this case, I'd prefer risking on the higher end than the lower one. I've got the funding to get (2) machines now and I have production demands I have to meet so I'm moving forward. I'll be happy to give feedback on the process on my thoughts on all the equipment I'll be getting.

I think the Mold'art machines are very similar to the JKV machines if anyone has experience with them and can give feedback. The majority of my work is with airbrushed molds so I'm looking for a machine that gives a consistent and shiny temper. Thanks again.

I know this thread has gone around quite a bit but I'm looking for answers on a couple specific machines. I'll be making a purchase this week and keep going back and forth on what choice to make. The 2 machines I'm looking at are the JKV (30 or 100) and the Tomric Plus. I've been leaning heavily towards the Tomric machine but for the same price I can get a JKV machine with an enrober option and a moulding option. I don't want to sacrifice the quality of the tempering so I'm curious what feed back people have about these 2 specific machines. I've had some good luck on getting some large clients right out the gate from starting my company so I've got some pretty large volumes to start producing ASAP. I've picked these machines due to availability and delivery speed. Any feedback is much appreciated. Thanks. Bill.

Cheripie, Congrats on taking the big leap, I'm right behind you and will be opening my shop in the next month. I plan on documenting my experience to share with everyone. My first advice is to be sure to protect yourself. You may already have done this but if not, don't risk everything for a few dollars. 1. Work with a lawyer to clearly draw a line between your business and your personal assets. Incorporate as an LLC, S-Corp etc. you should also work with an accountant to make the best tax choices. 2. Make sure you have adequate insurance. The world is full of people looking to exploit our legal system. Just watch the adds on TV 3. Declare all revenue. If you don't draw a clear line between your business and personal assets, the IRS doesn't have to either. Now for your questions although I'm sure there are others more qualified than me to respond. I'm facing the same issues so this is my take on the same problems. 1. As far as shelf life, I'd again use caution. Don't let the shops make the choice on when to pull the product? If they don't and you haven't labeled it as made with fresh ingredients/no preservatives, it may be you are the liable party, not the wholeseller. I'd suggest using products with similar shelf lives so you don't have wide variance. Fruit puree's may actually not have the shortest shelf life depending on how they are made (e.g., pate de fruit layered with ganache will have better shelf life compared to the same fruit puree that is just added to a ganache). When in doubt....sugar is a good preservative and invert sugar will help. 2. Storage/Temperature will influence many factors not the least of which will be shelf life, appearance and taste. You are doing yourself more of a disservice by letting someone sell a bad version of your product. We never get a second chance to make first impressions and you don't want poor storage to give you a bad name. 3. Pricing - Always the magic question. I think people sometimes make the mistake of thinking pricing is determined by your costs, it isn't. Pricing is determined by what the market will bear and your place in that market. What I think you need to focus on is not your price but your volumes. HOW MUCH you need to sell to be profitable is the real question, is your business viable? I'm not a CPA (my brother is) but don't guess on your costs/revenue model. You have 3 major factors to consider. Revenue/Sales - You have some control over this variable. Your pricing is one component but unless you are selling diamonds (high price/low volumes) you need to manage your volumes as much or more than the cost. Chocolate is low price/high volumes as a business if you want to be profitable. Your marketing/sales ability will play a bigger role in this factor than the actual price. Variable Costs - Think of this as those costs that fluctate based on other factors (e.g., shipping, ingredients, commissions). You don't always have to pay these costs and they can fluctuate widely based on volumes. When you are busy...these costs can skyrocket and no matter how profitable your price per unit, this can wreak havoc on an undercapitalized or funded business. However, I think this is a critical area that good management/planning can help to improve your profitability. Fixed Costs - These are death/taxes types of factors. They must be paid whether you sell any products at all (e.g., Rent, Salary, Property taxes, utilities, insurance). When starting your business, I think this is the place you have to look when determining how much you need to sell. If your fixed costs are low then you have more room to work. If your fixed costs are high it can wreak havoc on your funding and you can have a burn rate out of control. Remember these costs typically don't fluctuate with your revenue like the Variable Costs. Anyway, thats my nutshell approach to pricing. Don't determine your pricing based on your operation needs, base your operation needs on your pricing/volumes. 4. Other Tips - I've got a big mouth so of course I'll put in a few other comments. ** If you are starting an Artisan Chocolate company you shouldn't assume or even target a profit percentage, at best its a guess and at worse it can sink your company. A startup company will rarely be profitable in the first few years (in fact the vast majority will fail and never be profitable). You have to pound away and adapt to be successful. That means your salary and labor costs should be low until the business can support higher wages. If you have investors, they want to see your commitment in sweat and passion, not high salaries. If you can't take a lower salary, startups are not for you as it is very unstable ground and not for the weak of heart or anyone who just isn't in position to take such a big risk. ** Are you addressing waste with your wholeseller? Who is paying the cost of product that becomes outdated or goes bad? You may want to offer to pay the first 2-3 months of waste and tightly control inventory then have the wholeseller be responsible or share the cost. You definetly don't want them selling bad product rather than eating the waste cost so you need to be careful. ** Wholesale/retail - Be careful here as we are talking about 2 completely different business models. Everyone is tempted by the wholesale premise but unless your business model is not specifically designed with this as THE major revenue source you will open yourself up to all sorts of problems. Make a conscious decision on your primary model first; Retail or Wholesale, then build the business around that model. You can always do both but be good in one arena before extending into another. On pricing, make sure your retail price is the retail price everywhere....unless it is complicated enough that it isn't readily obvious there are price differences (e.g., you sell for $1.30 per piece and a wholeseller sells for $55.00 per lb.). Your wholesale price can vary depending on vendor and volumes. Don't forget to account for shipping/waste in your wholesale cost. ** I don't agree with the retail/wholesale assessment that retail is more costly. In an Artisan Chocolate company it is very likely you will be the primary employee and spend much of your mornings/evenings doing production and can easily offset the cost to have someone sitting around waiting on customers. The customers you do get will pay you full price and cut out the middle person. Also, if you are passionate you get an opportunity to not just sell some chocolate but sell yourself and build repeat business and strong word of mouth. ** Find someone who is doing what you want to do and talk to them, they are your best mentor. Everyone has opinions and the challenge is knowing which are accurate for YOUR situation. Advice is rarely wrong in this forum, it is often however not applicable or out of scope for some situations. ** Know what you do well and what you don't do well and accept it as fact. If you are not creative or able to do consistent production, this is not your business. However, if you can do those things then you are the key person in the business. If you don't do accounting well, hire someone to do that. If you don't negotitate well with vendors, find someone who does. If you are not a strong sales/marketing person, give your dreams to a voice others will hear. Pride is very dangerous in the startup world. There is a tendency to think we need to be balanced and learn what we don't do well....it's a dangerous mistake to make. Do what you do best MORE and become better at your strength, mitigate your weaknesses by admitting to yourself where you need help and getting it. ** Look around you and decide if where you are is the right place to start your business. If the area is oversaturated or not a good place for this business, move or find another dream. No matter how hard you try you won't grow palm trees in Minnesota or vanilla beans in Missouri (at least not anything someone will buy). Don't start anything that is either doomed or likely to fail unless you hit a home run, if everything has to fall in place then it is too big a risk. This is a tough fact to face when your heart says you want to do something but be realistic about your chance for success based on your location/area. Don't know if any of this helped but I wish you the best and I'd love to hear how your adventure turns out. Good Luck!

I will have my laptop and can check for any late questions and pass to ChristopherMicahel............ TruffleGuy I'm going as well. As a matter of fact, I just got my hotel room and flight just a couple of hours ago. If anyone has any questions you want me to ask Wybauw, let me know and I will try to ask him. But you must post them before say 9pm Pacific time tonight, because I have to get up a 4am to catch my flight. ←

Rob, I felt very underqualified in the class by Andrew Shotts, I think everybody else had a culinary degree. However, I'm pretty passionate about this whole chocolate thing and have a concentrated focus so I think that helps level the playing field. I know the people I spoke with had broad ranges of experience with pastry, confections, bread etc. but when it came to chocolate work, everyone was pretty balanced. If you can follow Wybauws books then I think you can gain understanding from the class. From a business perspective, I'm not going to make a living by hand tempering so I've not put much focus on that and I hope that isn't an expectation. However, understanding the tempering process, be it hand or machine, is important and I want to learn more. It's only recently that I've found different chocolates (manufacturers not dark, milk or white) have different ideal temper melting points. I also know to get the brilliant shine some chocolatiers get is by knowing how to work with chocolate and not depend solely on a temper machine that is generically programmed. John is dead-on about bringing questions, especially about problems you've encountered yourself. I'm also thinking of bringing a few molds that have presented a challenge to see if it the mold or the process. Bring your variables with your questions as they make all the difference. For example, I've seen a few posts about cocoa butter/chocolate sticking to molds (a few by me) and there were a number of answers, all viable depending on the variables. 1. It could be the cocoa butter was "out of temper". I recently "re-tempered" about 15 bottles of cocoa butter and it was no fun and quite a mess. 2. It could be the cocoa butter was too hot when placed in the mold and never released properly. I've found using yogurt makers over time has yielded better results that quickly heating in a microwave. 3. It could be the chocolate was not properly tempered. 4. Humidity factors 5. Temperature factors - too hot or too cold (remember your molds will be room temperature unless you take additional steps) 6. Condition of the molds - Are they scratched? Are they polished? Did you wash them in water and let them dry and happen to live in an area with high mineral content in the water (like Florida). Did you handle the molds with your hands and increase the temperature of some cavities? 7. Cooling of chocolate in molds - Did it happen too quickly or take too long? 8. Thickness of the molding - Ultimately, for me, this was the answer. I learned everything on my own so I didn't realize until reading some of the books by Wybauw that there needed to be sufficient thickness of chocolate to release properly and that colored cocoa butter was another variable in the mix. I also couldn't agree more with John about meeting other egulleters at the class. It's exciting to see people with a similar passion and follow them as they start their own careers. Who knows....tomorrow's Wybauw may be in our midst now and someone we learn from online and get to meet in a class. I think it depends on the class. Certainly, knowing how to temper chocolate would be helpful. Or at least having tried it a few times before. Knowing the problems you can run into with filling the cavities of molded chocolates. Bring a list of questions that you want answered. That'll go a long way to making the class valuable to you. For me, the highlight was meeting some of my fellow eGulleters. I just wish we lived closer to each other! ←

I'm going this week in Orlando...is anyone else from egullet going? I went to Andrew Shotts class and found it very useful so I'm hoping for the same. What I found helps is to bring questions, not just rely on the content and that makes the $$ well worth it. Also, don't discount what you can learn from others in the class, they are great resources. I'm a little nervous feeling very unqualified for this class but I'm also excited to know I'll have been able to learn from 3 of the top chocolatiers alive today (Shotts, Elbow and Wybauw). Hope to see some fellow egulleters in class...

Does anyone have any recommendations for a good Polish restaurant in the Tampa/St. Pete area?

Tammy, very nice looking pieces. Did you use the molding materials from ChefRubber? Also, if you have done this before...how long will the molds last? Do they degrade or keep their form?

just to clarify what truffle guy meant...i'm pretty sure he just meant that the shells should be thick enough to offer enough contraction so that the chocolates come easily out of the molds. if your shells are too thin, they won't contract enough and even after freezing and stuff they won't come out nicely. with regard to airbrushing cocoa butter, you don't need to temper and can actually use the cocoa butter at a higher temperature because the atomization of the cocoa butter through the airbrush cools it significantly (and is also agitation which is necessary for tempering) so it comes out the other end at the right temp. ← Exactly...it will still be a thin mold but if the chocolate is not thick enough the cocoa butter will stick to the mold and you will get unsightly pieces. Also, if the cocoa butter is too warm it can stick to the mold....

You also may want to make sure that the chocolate in the mold is thick enough that when it shrinks, it can pull the cocoa butter from the mold. If you are not sure, just give the molds a second filling after the first has cooled. I've had similar problems and after reading Wybauws book did this to make sure my shells were not too thin and it did the job in almost every case.

I bought a large wine cooler for storing chocolate.....it now holds wine because of humidity issues. I'm in Florida and it just didn't work well...maybe in another location it would do better. Also, the temperature range on the cooler is lower than I'd like and it had a tendency to fluctuate into the 40-50 degree range.

I bought some mini-cheesecake pans and they work fine but the do cook more quickly as they are much smaller. What I've found works very well is to make a normal cheesecake in a 9x13 pan and then freeze and cut with cookie cutters. You will have some waste but can minimize that with a good cutting plan. What you get in return are pieces that look as though they were made to order not just cut with a knife. You can then decorate each one to further accentuate the individual nature. If the sides are not as clean as you like you can always dip in chocolate, icing or roll in nuts or another coating. I've not done these for a couple years but I still have people ask me about them all the time and even had a couple restaurants request I supply them. Personally, I love cheesecake but think they tend to be served in too large a portion and this is a great way to allow people to not be overwhelmed by too large a piece or you can create a sampler platter with several flavors which is what I always did.

I think that some people do it for effect without really understanding how the flavors work together and you can end up with some really awful pairings. And then there are the standouts who do it well and with subtlety and can really wow you with combinations you would have never thought of. I don't think it is something that is too avant-garde though. More like an evolution in using what is available and turning to things not previously considered classic. edited to add: the examples I have chosen aren't necessarily because I like their chocolates, but to show you what flavor combinations some popular chocolatiers are making. ←

I know he has used a variety of different chocolates over the last few years. I believe they are the same brands you might see from other top chocolatiers and may have changed over time. I believe he uses E. Guittard and has used El Rey in the past but really only Chris could tell you the answer. I would say it's less the chocolate and more the process that makes his chocolates good. If you look at his pieces, they are always shiny with a crisp snap...you won't see anything that looks marginal. From my conversations with him, Chris looks for not only the quality/taste of the chocolate but how it pairs with the ganache, there is a compatability component that he understands very well. He has a high degree of technical understanding and the chemistry of chocolate and how to construct a piece. There are not a lot of people I've talked with who you just listen to what they have to say on chocolate and absorb what you can, Chris is one of those people. Andrew Shotts is also in that small group of people and as a shameless plug I'd suggest attending his class at the Notter School of Pastry Arts Notter School of Pastry Arts for anyone who wants to build on their knowledge (there is a class May 22-24).

I will resist the urge to rank as there are so many great chocolatiers and often it is a matter of taste and there is no real way to validate opinion. However, Chris has done well in recent years when it comes to contests and recognition and deservedly so. What I think makes Chris so good is that he approaches his work with passion and is always learning new things. He could have slowed down at this point but he continues to stay on the leading edge. Visually, I think his pieces are excellent and stand up to anyones. My experience is that Chris is fanatical about the taste, getting it right and always looking to improve a piece. From a taste perspective, his pieces are so smooth and consistent. He uses some unusual flavors as well as more traditional so it is a good balance. Also, he has a nice balance of enrobed and molded pieces...something for everyone. As someone who is also a bit of a fanatic I also think highly of Chris because he loves what he does and shares his knowledge. I've spent a few days in his shop learning techniques and he has always given me good advice when I encounter a problem. I know it is a business but I just don't respect those who don't share what they learned...which of course someone else invariably taught them. I have to give Andrew Garrison high marks to as I took his class and he was open and a wealth of knowledge...and his pieces are also outstanding. Maybe it is just having higher expectations than anyone can ever live up to and when you visit a famous shop for the first time, you can't help but be disappointed. When the chocolatier is friendly and sees a kindred soul rather than an enemy...I always find myself thinking very highly of the person and their product. Sometimes the bad taste in your mouth isn't the chocolate. I also loved Kee in NY...her chocolates were very creamy and intense in flavor and she took the time to talk and have me sample her pieces. When I mentioned I was looking to start a business she didn't call security either and showed genuine interest. I also got some samples from eGullets own Kekau Chocolates and really enjoyed some of Shane's pieces (try the Spiced Berry, Great Scott Caramel or Lavendar Noire) again someone who was very helpful and loved sharing his passion (I do owe him a box though...haven't forgot Shane). I'm looking forward to taking Wybauw's class soon as I think he is another example of a person who loves what he does and not just what it gets him. Before you order any pieces from Chris I'd suggest making sure you follow your tastes (know thyself). If mixing savory with sweet is a sin....don't try those pieces but rather the consistent and smooth flavors of his single origins or caramels. I think when it gets down to it....if someone is using top ingredients and not taking shortcuts, the product will be good. Also, remember sometimes the piece you taste may not be at the peak of freshness and its too easy to dismiss as representative of the overall product when it may be conditions that have minimized the quality. I've had chocolates from resellers who just didn't maintain product correctly and it made the chocolatiers they are selling look bad. I'll make you this promise Robert....if you order a box and don't like it...I'll pay for it! Enjoy!!!

Try now....I made the photo album public

Recently I was back home to visit my family (I'm a KC native) and as always I made a trip to Chris Elbow's store. I knew he was moving to a new, larger store that he had designed and was glad to see the move officially happened on 4/24 and was eager to visit his new location. I've gotten the okay from Chris to post the pics of the new store and share my thoughts and I hope it might be of value to those like me are looking to make their own next steps in owning a chocolate store. He is located at 1819 McGee which is near downtown and the art district. For those not familiar with KC, the downtown area has been undergoing a revival with upscale lofts and updating of historic buildings for businesses. Chris has setup his new shop in a historic brick building that has been renovated Chris Elbow Storefront Storefront As I've been working towards opening my own shop, I'm always interested in how a store is designed. In the last 12 months I've made trips to NY and SF and visited over 25 shops, checking out both product and building design. That being said, it takes a bit to impress me but that is exactly what happened when I entered the shop. Just as he doesn't miss any details on his chocolates, Chris was just as exacting an artist in designing his shop. As you enter the front door what really catches your eye is the stunning display area with vibrant backdrops and simple elegance of the glass display protecting his chocolates. Front Counter Counter - Another View It is all very understated and reminisient of a visit to a high end jeweler with clean lines and a smooth flow of design. The chocolates rest on a stone countertop behind glass, although the smallest features in the shop they become the primary focus and draw the viewers eye. Candy Display Candy - Closer Look Something new is the addition of shelves that house other products and like many others....I couldn't resist picking up a few myself Shelves View from the bar I don't have pics of the work area but you can see everything is behind glass and allows customers to observe the whole process. I went back and Chris gave me a tour of the new work area and the attention to detail seen in the front of the shop extends all the way back. Work area behind glass There are also other required areas in a store that invite guests to stay for a while and a visit to the restroom continues the artistic theme When Nature Calls One feature I really like is the bar area where customers can sit and eat/drink chocolate. The view is to the outside with glass all around and remote enough for private conversations. Bar area View from inside Of course I also go to shops to try the products and see what is new and different. One thing that immediately struck me was the growing number of drinking chocolates Chris offers. Foolishly I didn't try any but will make sure to try some on my next trip. I had a chocolate bar with "Pop Rocks" and after figuring out to let the chocolate melt in my mouth found it a very interesting (and addictive) treat. As always I tried the Pate de Fruit and a few of my favorite pieces (Strawberry Balsamic, Banana's Foster, Fleur De Sel Caramel, Passion Fruit and Rosemary Caramel). I love traditional pieces but I'm impressed when someone can get a complicated flavor to work and all of the above are good examples of getting it right. Well, that completes my tour of Chris Elbow's new store...make sure to visit yourself if you get the chance. For those, like me, still in the process of starting a chocolatier career it is a great lesson to learn that nothing should be left to chance, everything is an extension of who you are. If you're an artist driven by your passion, each step of your business is a chance to show your talent and creativity. As my boss likes to say, "The devil is in the details" and she is right and when someone has the attention to details down...all the other pieces fall in place. Good job Chris!

Yes...but I am also looking at some other machines. I need a quick turnaround and a dependable machine and my primary purpose is moulding. so are you looking at the moulder for 6250 euro and then enrobing unit for 4750 euro? ←

sounds like a good idea. any thoughts on where to find the machines second hand?

Kerry, Thanks for the link. I also am looking at Tomric Tomric Machines ....any thoughts on that line. I'm looking at either the Ghana Top or Ghana Plus. A few other companies I'm considering are: Hilliards Hilliards ...they have a few lines for moulding that I'm considering ProBake ProBake Machines Hacos Hacos Enrobers Bakon.....I'd like to hear from anyone who has used their equipment Bakon Equipment

My 3 year trek to starting a company is coming to a conclusion as I now have a space picked out and some revenue streams established. The next big step is moving to some production equipment that makes sense for me. I'd love to get an LCM machine but the price is high and the time to deliver is 4+ months. So, I'm looking for a quicker turnaround time and a solid machine. Currently, I'm strongly considering the 50KG Mol D'art model Mol D'Art machines as it would be good for moulding which is a big part of my business. It also has an attachment so it can be used for enrobing. The capacity would work and the price is very reasonable. I'm considering 2-3 machines with 1 being an enrober. My concern is the dependability and tempering performance. The turnaround time is quick and would allow me to launch faster. Anyone have experience with these machines for moulding as well as using the enrobing attachment? I'm also interested in any other good machines that won't cost me $20,000+ that are strong for molding. I need to produce white/dark chocolate molds so I'd prefer 2 smaller machines at this point until I can afford the larger dual LCM machines. Thanks in advance for your help.

My findings in the Shotts class were that enrobed and molded bonbons are not equal. From an artisan chocolate business perspective, the ROI on molded pieces is less and so my eyes were opened to some of the advantages of enrobed pieces. It takes these advantages to convince me to do any enrobed pieces. For me, I don't think aesthetically there really is a doubt on what is more eye catching, it's molded pieces. The variety of shapes and designs of molds makes it possible to create true pieces of art, they can look like something in an art gallery. You just cannot achieve the same shine, contrast of color and design or artistic statement with an enrobed piece. If you ask 100 consumers which is more visually appealing between Chris Elbow's Chris Elbow Rosemary caramel or any of his enrobed pieces, I think over 90% would say the Rosemary caramel. It is dramatic, colorful and more importantly unexpected for chocolate. If you ask 100 chocolatiers, you will get more of a split and probably more will pick enrobed. Why? I think it is a combination of factors including: 1. Tradition - More than most any other group of which I've participated, chocolatiers/pastry chefs seem to value tradition over change. It is a strange contradiction when you see all the incredible pastry "art" with sugar, chocolate and cakes. But none of those items are truly made to be eaten, they are technically "edible" but the compromise to vanity is perceived as complete. Yes, wedding cakes are eaten but they cost $5,000-$10,000 for the appearance not the taste. So, when a molded piece of chocolate looks like these showpieces, it would be natural to feel the same way, pretty and elegant but lacking depth and quality. It also is a more "American" excursion into the visual appeal not as fully embraced by the european aristocracy. I don't mean that in a disrespectful way but I see a similar history with wine. When California first started producing wines there was little if any respect and all european wines were considered superior. Today, when I'm at the wine store and feel like spending a little extra $$$ many of the more expensive bottles are from U.S. vineyards. I remember asking a local chocolatier, "have you ever tried a rosemary caramel" she immediately gave me a look of disdain and spit out, "I never mix sweet with savory". Well, good for her and good for me as new things don't threaten me and when I open my shop, I'll remember that times and tastes do change. 15 years ago if you asked for a list of the top 20 chocolatiers in the world, I doubt you'd see a name outside Belgium or France. Today, while respect is still very high for those individuals you would see new names on the list who are pushing the envelope on what is done with chocolate and they might end in more diverse surnames such as Love, Shotts, Donnelly, Elbow and Kee. I think that indicates growth...not an abandonment of tradition. 2. Perception - We are talking about aesthetic value. Webster's defines aesthetic as pleasing in appearance the word derives from the greek meaning "to perceive". But as we all know, we don't trust our own eyes when it comes to our own perceptions. If we did, we would make far better choices in our lives. Because we are so concerned with what other people think we buy cars for their exterior when we spend 99% of the time looking at the interior. BMW, Mercedes or Jaguar can slap a logo on an overpriced KIA and we gladly will pay $10,000 more for their low end vehicle rather than for a superior vehichle from Honda, Toyota or Nissan (I actually drive a Pacifica). Anyone ever see somebody with a laptop at Starbucks or Barnes and Noble? Want to bet that same person doesn't boot up in McDonalds? Of course not, whose perception do we want to influence at McDonalds? If Polo sells a sports shirt without a logo for $20 and the same one with a finely detailed, 3 color guy on a horse for $25...which one do you buy? Anyone ever pay $5 for an embrodiered polo rider by itself? Anyway, you get my point. We have a spontaneous physical reaction when we see something (I want that, that looks good, yuck!) but we will process our decisions based on more than that and often it is strongly influenced by the perceptions of others. Beer, cigarettes, wine, (probably foie gras) are typically acquired tastes and the reason we go back again is often because of a desire to be accepted. Not always the case but often enough. How does this long digression relate to our topic? I do think many of us are still giving the perceived "right" answer of a traditionalist. From an aesthetic perspective, purely based on visual appeal....I'll trust my eyes and not care about the fact it probably is the "wrong" answer. 3. Business Justification - I also think many say enrobed pieces are better looking, better tasting etc. because it supports what they are currently doing. They make smart business choices for more efficient production and for artisan chocolatiers, that clearly is enrobed pieces. Saying anything less than you think your product is more attractive is telling people you are an artist who compromises your art for money. Nothing wrong with that but it goes against the basic doctrines of the artisanal oath. Interestingly, while it makes sense to do enrobed pieces for productivity and cost effectiveness, almost no one will go to the next step of adding preservatives. I'm certainly not advocating that or have any desire to do that (forgive me for the hypocricy) but really, isn't that just a few bus stops down the road? I guess my point here is do many of us defend what we are currently doing, merely because "we" are doing it? 4. Skill/time required - The last reason I think people may shy away from molds is that they are VERY time-consuming and require more "painting" skills using brushes and airbrushes. You have to shine the molds, paint, coat, fill then seal. There also is the issue of expression...it is truly unique for molds as there are no transfer sheets (except for magnetic molds) and we are still early in the "era" of painted molds and the artistic expression is often pretty shallow. Everyone does a "marble" design using a finger to create a swirl. Airbrushing techniques are also pretty standard at this point but I'm sure someone will push the envelope here and in 2 years....we will see some more dramatic pieces. All of this means more time to create each piece. I think the aversion, limited exposure and failures with these techniques influences what is more aesthetic....after hundred's of disappointing molded pieces, a perfect enrobed piece is a thing of beauty. Ultimately, beauty is in the eye of the beholder and I do realize there is no "correct" answer. But for me, I remember the impact of seeing Norman Love's G Collection on Godiva's website 2-3 years ago and how it awoke artistic seeds in me that had been dormant for years. I love enrobed pieces, I'm amazed at their taste, texture and consistency but never did they reshape my perceptions. If anyone is familiar with the artwork of Tim Cotterill aka "Frogman", I see his artistry in each finely done molded piece that uses colored cocoa butter. He sculpts in bronze and we use chocolate. He creates pieces that people collect and admire while we create pieces that challenge everything our customer has known about chocolate and opens them up to new tastes. To me, a beautiful painted molded piece is the "hook" to get someone to try a rosemary caramel that in a more traditional form, would not be purchased. It sounds a bit naive or idealistic but what really excites me is that people are drawn to the visual and it gives me a chance to expose them to new tastes they would never otherwise have considered. So...I guess my vote for aesthetic is molded.

I was in this class and just want to encourage anyone interested in learning more about artisan bon bons and confections to attend. I was probably the only novice in the class which was a bit daunting the first day but chef and the people in class couldn't have been nicer. While we learned some great techniques and recipes I found great value in chef's sharing of his experiences and the coordination of craft/business. The other members of the class were also excellent sources for ideas and encouragement, we have a group keeping in touch and sharing info even beyond the 3 days in class. I came away with some new perspectives that I think will help me as I continue my journey to my own business. One thing that became very obvious quickly was that molded pieces, while very attractive and what I really enjoy doing present real challenges for consistent production. I still love doing them (I've got 12 molds at home already painted using some of the new techinques) but I found a new appreciation for the enrobed pieces. Below are some insights I walked away with when it comes to enrobed pieces versus molded ones. 1. Efficiency of Production - This isn't even close. The time it takes to shine, paint, fill and close molds pales in comparison to how many pieces can be done by using a guitar cutter for enrobed pieces. Speed isn't everything but if you are serious about a business and need to scale up to large quantities of production, a dependency on all painted molds will be very cost challenging. 2. Consistency of Quality - Something I had not really considered previously and it may just be my opinion. But, I think with molded pieces you may get less consistency than with enrobed ones. My reasoning is that each molded piece has exactly the same thickness and you can allow it to "dry" on more surface area. Molded pieces are subject to variables such as the mold shape/depth. This may be a small consideration but a ganache put in a very deep mold probably has a different taste/consistency than the same ganache used in a wider/more shallow mold. The temperature of the mold may also be a factor as you are essentially "enrobing" the piece first then sealing it. When you enrobe a cut piece, the chocolate comes after the ganache rather than before. Again, not sure if that is a huge factor but it is certainly a variable. 3. Risk Factor - Molded pieces carry a much higher "risk" factor. There are more variables involved (shape of mold, state of mold, temperature of mold, colored cocoa butter factors etc.) and each variable means more opportunity for failure. In many cases, I don't know until I turn out a mold if there was a problem and it is costly in both time and money when chocolates "stick" or the colored cocoa butter doesn't release properly etc. When working with enrobed pieces, usually you know if there is a problem when the ganache sets (or doesn't) and in some cases you can actually salvage the ganache....something you can't do with a molded piece. Also, if you are using an enrober to do the actual enrobing (rather than by hand), I think you also limit problems because the technology is more efficient than doing it by hand. If you have a problem, it normally is on the first run and you can make adjustments. 4. Attractiveness - I still believe a well done molded piece is the most attractive artisan chocolate, it has a shine like glass and the sharp detail/lines of the mold. That being said, an enrobed piece can have a very visually appealing presentation as well. Transfer sheets allow for a very unique presentation that many consumers feel is "handmade" anyway. Also, there is an ability to add a 3-dimensional look to enrobed pieces. You can use texture sheets for unusual patterns as well as ingredients as toppings. This is an area where I will continue to feel molds offer more but you have to weigh the cost to produce. Most artisan chocolatiers don't charge more for molded pieces and yet the cost/profit margin has to be lower if you are doing any artistic work on them. 5. Shelf Life - I'm not sure about this one but it seems that since enrobed pieces typically are more firm, they should have a longer shelf life. They typically have less water and this should make a difference. I've never seen anything on this and would love feedback but it seems logical. The only possible drawback is that an enrobed piece is subject to more exposure to air as it "drys" and this might hasten deteriation. The seal for a molded piece comes much more quickly and less surface is exposed so it may have a greater shelf life. Also, I think a molded piece probably has a better seal overall as you can easily apply chocolate to areas that have holes whereas an enrobed piece typically has a transfer sheet applied as it comes out of the enrober and you might not detect imperfections until you are boxing. Again, I can't stress enough the value of attending this class for anyone serious about taking their chocolatiering to the next level. There is so much subtle knowledge shared that makes a strong impact, you walk away with so much info from chef, it amazes you that you were making your job so hard previously. An example is the whole process he uses for pouring ganache, layering it to a precise height and using tools that don't cost hundreds of dollars. Good luck and I can't wait for the next class. Bill