Jim D.

It would be interesting to know the results of your attempts. And photos (if they are presentable--most of mine were not).

I am pleased to report the result of some experimentation: With the molds at room temp (approx. 70F/21C) and the warming tray heated thoroughly (but with heat mitigated by a Silpat and several layers of shop towels), I rubbed several molds on the towels for several seconds. The temp rose to around 72-73F/22-23C) as measured by an IR thermometer. I rubbed a couple of molds for about 10 seconds (probably the most I would ever rub one), and the temp was closer to 80F/27C. So, as far as I can judge, there was no danger of causing the cocoa butter to go out of temper. If I had a substantial buildup of cocoa butter (as happens with the Fuji spray gun), just to be safe I would probably rub for a while, wait a few seconds, then continue.

@Kerry Beal, do you think the heat from the tray might throw the cocoa butter out of temper? I ask because I am using this method of cleaning molds, and it is very quick and effective. But I am having more difficulty lately with cocoa butter sticking to the molds. For a while I was completing all airbrushing on all molds (which sometimes meant several colors), then, at the end of the day, rubbing the molds, but that meant the tray had to be very warm and took quite a bit of time, since the c.b. had crystallized thoroughly by then. So I returned to rubbing each mold after airbrushing it with a single color (or splattering it or swirling a color in it). And I let the shop towels pile up on the tray to mitigate the heat, since even on a low setting, the warming tray is quite warm. But the issue continues. Of course, there are dozens of possible reasons the c.b. might be sticking. I know you said your tray is quite warm, so was wondering if you had noticed this issue.

Try holding the airbrush farther away from the mold and/or reducing the air pressure. But, for those of us who took Andrey's online course, this proved to be a very difficult technique. I was so frustrated by it that I had someone film me while I made multiple attempts, then sent the video to Andrey, who critiqued it and made suggestions, but all to no avail. I had a few successes but definitely not enough to make the technique something I could use in actual production. It takes a lot of practice and maybe luck (having the two cocoa butters at the right consistency and temperature). You can read much more about this issue in this thread about the Dubovik course. For perspective on such issues, it may be useful to know that Andrey does not produce chocolates; he creates decorative designs, one mold at a time. In response to a question from a student who asked about pricing issues, Andrey replied that he didn't really know as he had never sold a chocolate!

I don't spend every waking moment working with chocolate. Once the Christmas chocolates were done, I turned to desserts for Christmas dinner. This is one of three, a caramelized orange polenta cake:

A photo of the second of my Christmas 2019 assortments. Beginning at the top with the item topped by a hazelnut: Coffee ganache & hazelnut gianduja, cherry pâte de fruit & pistachio gianduja, pear pâte de fruit & almond cream, spiced plum ganache, gingerbread, sesame crunch, maple walnut ganache, apricot pâte de fruit & almond gianduja with spiced shortbread, cherry with kirschwasser, raspberry cream, eggnog ganache, dark caramel with sea salt. I am aware that many people (usually including me) are a bit scornful of using transfer sheets vs. original decorations, but I can attest that, in a very busy December, those transfer sheets help take the pressure off creating designs from scratch for so many different fillings (24 in all for the month). The sobering reality is that customers loved the transfer sheet designs. Quite a few asked me how I managed to paint all those intricate designs on each piece. And yes, I told the truth.

It's very striking in appearance. Can you tell us what the three fillings are?

That experience would be very disturbing. When I sell wholesale, I insist that the shop selling the chocolates retail have refrigeration, so keeping them around 40F (or for long-term storage, a freezer plus information on how to move chocolates from freezer to cooler). Do you know the Aw of that raspberry filling? The information would be especially useful in this case. And is your recipe a published one or something you came up with?

If a major concern is not gouging the marble, then what about buying a quartz slab? The price is lower than marble, and it's more durable (though not good for the cutting instrument, but no stone is). You could transfer the candy to the quartz and hack away with more power.

Beautiful--and congratulations on your new business, with the wonderful name "Bliss."

That's what I was guessing since (as I said) they mostly conform to the "fleur" theme. You are bolder than I am about asking them, so I thank you.

On reading Greweling more closely, I found: "The shelf life clock effectively stops when the confections are frozen." Then later: "Freezing confections greatly slows, but does not stop, the deterioration of quality." I'm not sure those statements can be reconciled. The decision has to be yours, of course, but I would probably use the frozen truffles in a situation where they would be consumed fairly soon--if that is possible, given the impossibility (discussed previously in various threads) of controlling consumer behavior. A temperature between -12 and -18F is really low, as is the Aw reading.

Greweling says that vacuum-sealed chocolates can be kept frozen for 4 months without loss of quality. You have a very low temp in your freezer, so that should help. Depending on what the ingredients are, you might stretch that some, but a year might be too much. I can't imagine there is anything harmful about them, but there is the quality issue.

The Fuji has many great qualities--speed being the best from my point of view--but if you think your LVLP gun had overspray, I suspect the Fuji puts that to shame. I am using a lot of cocoa butter. I'm not sure if there is something I can do about that. I tried lowering the amount of "paint" coming into the gun with the knob at the back (I think all spray guns have this), but it didn't help. I tried lowering the air pressure (the adjustment at the bottom of the gun), and that produced too much "orange peel" effect. I am going to continue my research on this subject after Christmas, watching all the Fuji videos I can find. Surely in actually painting with a Fuji, there are occasions when the painter wants less paint coming out of the gun. I just don't know how that is accomplished. Fuji could really improve their outreach to chocolatiers; I suppose there just isn't enough business in that field.

This is not the main point of your post, but how do you know your cream ganaches last only a week or two? And under what conditons/temperature? That is a very short period of time.

I do not use the filter in the mini-HVLP gun I have. With cocoa butter, you need as few obstacles to the flow of the material as possible. From time to time, as the cocoa butter crystallizes, you will need to warm up the gun and cocoa butter in the cup (using a heat gun is the easiest way).

Just for the record: here is where gfron1's comment on matcha can be found.

Take a look at this thread, which includes my adaptation of the strawberry marshmallow recipe posted previously on eGullet. Keeping it pipeable depends on temperatures and the time you beat the marshmallow before piping it. If you beat it to the regular consistency for standalone marshmallow, you will go crazy trying to get it into a pastry bag. A recent trick I have learned to get the temperature down to the point that the marshmallow can be piped without melting the chocolate shell (and keep it from getting too thick as you wait for it to cool) is to put some ice in a bag and hold it against the side of the stand mixer as you beat the marshmallow. All that being said, piping marshmallow into a chocolate shell is a messy job.

How true. Just outside the city where I live is one of the largest Hershey factories in the U.S. The big excitement is that they are going to start making Reese's Cups there! I recently raised my prices to the point where they almost cover my expenses, and, as I predicted but knowledgeable customers assured me would not happen, sales have diminished.

I guess I assumed they would not wish to reveal their source. As I think more about those particular transfers, I'm wondering if they have them custom made. It's obvious they are applied to dipped chocolates, not used in magnetic molds, and each is 1" x 1". The fact that the shop is named Fleurir might explain why most of them have a flower motif and could argue for custom transfers. I was struck by the self-confident statement on the guide to the flavors enclosed in the box: "probably the most delicious box of chocolates you have ever eaten." They did make the New York Times list as creating one of the "10 best American small-batch, chocolate-covered salted caramels" in the USA (obviously the Times didn't sample Seattle's best )

I find that using magnetic molds with transfer sheets is a useful shortcut to supplement other more time-consuming bonbon decorations when dealing with what are for me large numbers of Christmas chocolate orders (certainly faster than getting out the airbrush equipment and tempering cocoa butters). But finding decent transfers is another matter. Many of them have beautiful colors (such as red) which turn brown when placed on anything but white chocolate (never mind the fact that the online photos from the vendors show a vibrant red atop dark chocolate). Many of the designs are too large (that is, the "repeat" of the pattern is too high and so you end up with a snippet of the design on each chocolate). Someone just gave me a small box of chocolates from a shop in northern Virginia that are, IMHO, strikingly beautiful (I ate one of the pieces before I decided to try finding the transfer sheets used). Has anyone seen any transfers like this:

I am not sure, but I think @gfron1 posted on the subject of matcha (perhaps in this thread) saying that he had found the amount that would be palatable (maybe "tolerable" is a better word).

The only time I use a heat gun on a mold is to run it over the tops of filled caramels as I prepare to seal them. I'm not at all sure this does any good at stopping caramel leakage, but now it's become a superstition. The theory, of course, is that it slightly melts the edges of the shell to make it adhere better to the chocolate that's about to be ladled over it. I did, however, see a worker at The Chocolate Lab in Alberta, Canada, heating the tops of all molds before capping them.

The BBQ mitts are just too thick to have any dexterity at all. I know I don't need much since I am just stirring, but the hand gets very tired from the effort of holding the spoon and stirring, esp. since the gloves make it difficult to grasp the spoon. I have others intended for BBQ called Pit Mitts, and they are thinner, thus allowing for more dexterity, but they have some sort of fiber on the outside that I feared might come off and drop in the caramel/raspberry purée. I need to check on the gloves Chocolot mentioned previously and make sure they don't have such fibers. I'll also look into what minas6907 described--perhaps using the gloves he recommends will also confer his confectionery skill and artistry on me?

I am seeking gloves that are good as protection in working with sugar and, more precisely, caramel. In doing a search, I assumed there would be something called "sugar gloves" or some such name, but the only specific ones I located appear to be discontinued. I am preparing once again to make Wybauw's banana and passion fruit caramel, and I am tired of getting burned when the liquid in the fruits starts spattering. It also happens when I am reducing raspberry purée. I have heavy, thick BBQ mitts, but they make it quite difficult to work for very long. Any ideas would be much appreciated.