ANIL BHANDARI

Published by
POPULAR PRAKASHAN PVT. LTD.
301, Mahalaxmi Chambers
22, Bhulabhai Desai Road
Mumbai – 400 026

© 2018 Anil Bhandari

First Published 2018

WORLD RIGHTS RESERVED. The contents - all recipes, photographs and drawings are
original and copyrighted. No portion of this book shall be reproduced, stored in a retrieval
system or transmitted by any means, electronic, mechanical, photocopying, recording or
otherwise, without the written permission of the author and the publisher.

(4482)
ISBN: 978-81-7991-923-1

Printed in India
by Saurabh Printers (P) Ltd.
Plot No. 67 A-68, Ecotech, Ext. I
Kasna, Greater Noida-201306 (U.P)
 Author’s Note

Eating is a sensuous experience. Our eyes form an opinion much

before we taste a dish, even earlier than the aroma. Visual perception
of food raises expectations making the view as important as the taste
and smell as it triggers secretion of juices from the salivary glands.

Although taste plays a major role in India’s fabulous cuisines, chefs

should remember the saying that you ‘eat with your eyes’ while they
are plating and making a food presentation.
The unique combination of spices and a vast variety of flavours makes
Indian cuisine one of the best in the world but falls short of the
recognition it rightly deserves. I acknowledge that most dishes of
India, to receive international adulation, deserve to be better plated.
This book is a small step in the direction of bridging that wide gap
existing in Indian cuisine between ‘food to excite the five senses’
which it is, and the ‘eat-with-one’s-eyes’ factor in which it falls short.

This book is intended for chefs, students, home cooks and others who
enjoy cooking and learning the culinary arts. In that context the plating
instructions are accompanied by simple directions, colour photographs
of finished plates and line figures of designing and decorative
techniques.
The book outlines how personal creativity and traditions combine to
create eye-catching plated presentations of food. Chefs can take
advantage of enhancing plating through insights gained by an artistic
approach. The home cook can appreciate that discipline, inspiration
and artistry can lead to visually beautiful food plating.

As gastronomy moves towards the ideal of a total multi-sensory art, a

dish should be in a position to arouse the feast-for-the-eyes sensation
before the sense of smell and taste are captivated by the aromas and
flavours.
While many Indian desserts and tandoori preparations are visually
stimulating, there are many curry dishes that commonly share a dark
red or brownish colour.
To motivate chefs all over the country as well as to further promote
this profession, I mooted the idea of instituting the Chef Awards in the
year 2004 in collaboration with the PHD Chamber of Commerce and
Industry. Since then Chefs’ Day is organized annually.

I persuaded the Ministry of Tourism to recognize the role of Chefs in

the Hospitality industry. As a result, the Ministry established two
National awards for outstanding chefs of the country from the year
2008 onwards.

My efforts to persuade the Government of India to include the ‘Chef’

category in nominations for the Padma Shri awards was realized in
2016 when the first award was bestowed on Master Chef Imtiaz
Quereshi of Dum Pukht fame while the 2017 award was given to Chef
Sanjeev Kapoor, celebrity Chef, author of many recipe books, and
entrepreneur.
Culinary education received a boost with opening of the first Indian
Culinary Institute at Tirupati, Andhra Pradesh in 2016. Development of
four regional chapters is planned. The Institutes will document recipes
and help in the teaching of Indian cuisine in foreign Institutes leading
to popularization of Indian food internationally.
Indian cuisine deserves to be the No. 1 cuisine in the world. Our food
is healthy and nutritious. We need to increase its attractiveness by
plating it artistically. A few chefs have started plating their culinary
creations to make them appear different from the traditional look. This
book would definitely help them and others to learn from the basics
given here and present the food in a more attractive and stylish mode.

— Anil Bhandari
 Contents
Chapter 1
Art on a Plate

Chapter 2
An Art, Craft and Science

Chapter 3
From Haute to Nouvelle Cuisine

Chapter 4
Ground Rules of Culinary Design

Chapter 5
Plating

Chapter 6
Shapes and Designs

Chapter 7
Tools of the Trade

Chapter 8
Colour

Chapter 9
Carvings

Chapter 10
Appetizers

Chapter 11
Sandwiches and Canapés

Chapter 12
Desserts a Fitting Finale
Chapter 13
Indian - Recipes

Veg Lollipop

Aloo Nazakat

Royal Hara Bhara

Mutton Shammi

Mutton Seekh Kebab

Bharwan Aalu Tilnaaz

Semolina Crusted Fish

Murgh Biryani

Fish Biryani

Maas ke Sooley

Malai Prawns

Chocolate Samosa with Cappucino Cream

Golgappa Espresso Shots

 Art on a Plate
Artistic expression is a quality much admired in the field of culinary
arts. A chef spends a considerable amount of time in the kitchen
preparing an exotic dish so it is logical that he spend some more time
and effort to make the food attractive and pleasing to the eye.

Food plating is an art and a science, a matter of technique where the

chef has the ability to divide the space on a plate in a creative
framework and make the food look eye-catching. Indian food, being
served in the traditional thali, does not leave much scope for use of
textures, colours, forms, balance and garnishing. Innovative thinking
and creativity need to be adopted, as followed by practitioners of the
culinary arts in the Western hemisphere.

The trainee chef, and even many experienced chefs do not know the
‘where’s’ and ‘how’s’ to start for making the food look attractive.
Creative food decoration is easy to learn once the basic principles and
the tools to achieve desired results are learnt.

Food decoration, in simple terms, means setting the food on a dish,

and providing a garnish in contrasting shapes and colours. If desired,
a more artistic version would be to decorate the food with the correct
use of design elements keeping in mind the intended impression to be
created.

In food decoration the “less is more” principle should be kept as the

bottom line. Maintaining minimum decoration and ornamentation
would attract more appreciation rather than a plate which is
overloaded with food items or with indiscriminate use of garnish. Over-
decorated food can only draw adverse comments.

Food prepared with planning and attention is attractive and the

garnish is a means to enhance its intrinsic beauty. Nish of freshly
chopped green coriander leaves and white onion rings provide an
additional aroma and add colour to the dark brown Kakori kebabs on
the plate.
Colour plays an important part in the selection of a dish. If potatoes
boiled in purple dye were to be served to two test groups, one with
blindfolds covering their eyes and the other group with their normal
sight, while the first group would relish the boiled vegetable the
second group, on noticing the purple colour would consider them
unattractive and unappetizing.

The range of subjects such as design, decoration, garnishing and

colours are part of the elements of food plating. It is necessary for a
chef interested in learning about creative food decoration to
understand the standard rules influencing various elements of food
plating. There is a chapter giving details on the rules and subsequent
chapters give details of different elements of food plating.

This guide to food presentation is an inspiration for culinary students

and a must-read for chefs and housewives. Plating suggestions have
been given with techniques and sketches, making this book a must for
the kitchen shelf.
 An Art, Craft and Science
The expression that “we eat with our eyes” maybe a cliché but it is
true. The first experience of food is how it looks, followed by its aroma
and finally the taste. Artistic plating of food stimulates the appetite of
the diners. Presentation of food is, therefore, crucial for creating of
expectations and the prelude to an appetizing and memorable dining
experience.

Enhancing the aesthetic appeal and visual appearance of a dish can

elevate it to an entirely new level. The art of plating is a form of high
art with the use of textures, colours, forms, balance and anything else
culinary innovators can devise. Photos of dishes printed in cookbooks
and magazine look so mouthwatering.

For a chef cooking is not just a profession but an art as well as a

science as the first impression of his preparations to diners is through
the eye-appealing presentation of the dishes, setting the stage for the
multi-sensory experience of enjoying a great meal.

Food presentation is an art crafted by artistic creativity and scientific

experimentation. The plate is a blank canvas and the chef is free to
showcase his masterpieces through plating.

As in a painting, emphasis is given to choosing the right format of

plate for a specific dish as the food should not appear too crowded
and not too little. It should convey the impression that the portion size
is adequate. A variety of colourful textures on the plate with the right
arrangement of ingredients helps make the dish look more appealing.
The colour of the plate or platter influences the appearance of a dish.
White plates are common as the dish stands out. Plate ware of other
colours is used depending on the colour of the dish. Plates of various
shapes are used to match the shape of the display.

Besides round-shaped plates, triangular, square and rectangular

plates are also used. Porcelain is standard plate and platter ware
material while a silver or gold finish plate, depending on the food to be
displayed, suggests a touch of class.

Like any art, plating requires creativity. As in any form of art there is
an evolution with time. Today chefs across the world create their own
style. The seven contemporary plating styles are The Minimalist, The
Architect, The Artist, Contemporary European Style, Asian Influences,
The Naturalist, and Dramatic Flair. The attractiveness of the dish is
enhanced with a minimalist style of cooking, elaborate cutlery, mini
portions, designer spray of sauces, fresh ingredients like salad leaves,
sliced carrots and tomatoes, sprouts etc. for garnishing.

Chefs in India are innovating with plating of Indian cuisine to create

contemporary and different styles for the New Generation. Innovation
for visual appeal is being done with minimalist plating and by adding
texture to traditional regional cuisines.

Plating is not a mere decoration but an integral part of the multi-

sensory eating experience. Traditional chefs who believe in preserving
the conventional thalikatori style of service need to look into the
variety of colours, textures and diverse garnishing that can rework the
characteristic appearance of Indian food without affecting its exotic
flavours.

BACKGROUND OF PLATING
The earliest instance of plating as an art comes from the century-old
tradition of Kaiseki, referring to a set menu of select food served on an
individual tray to each diner. Chefs selected their decorative plate
ware to ensure that each dish complemented the food to be served
from it. To create a connection with Nature, decorations and the foods
being served were changed according to the season. Icy plates were
served in summer and warm dishes in winter.

Japanese culture has had a major influence on today’s plating

techniques and the way to understand this is to study the contrast with
what existed before it influenced Western cultures. Plate ware and
plating had a merely functional importance in the West earlier. In the
Middle Ages, serving meals basically involved ladling stews or
porridge into hollowed-out ‘plates’ cut from loaves of old bread.

The 17th and 18th centuries saw a marked change in French cuisine,
when it took the first steps toward Haute Cuisine.

Antonin Carême, amateur student of architecture and chef to

distinguished persons such as Napoleon Bonaparte, became famous
as he presented his culinary creations building his dishes into shapes
of famous monuments, waterfalls and pyramids.
The main impact of Carême came from his introduction of two
conceptual innovations which would later combine with the Japanese
tradition and elevate contemporary food presentation to new heights.

The first idea infused by Carême into food presentation was one of
originality. Chefs, like architects, could select and compose food
presentations according to their own individual inspiration and not
according to pre-existing codes, as in the case of the Kaiseki pattern.

This break away from traditional codes was liberation for new forms of
plating and continues even today. The second more important idea
credited to Carême was that plating could be arbitrary.

Presentation of a dish is no longer needed to be linked to the

ingredients that were used in its making, or to be shaped like an
animal or referred to the season. It could refer to other arts, and invent
its own aesthetic forms. With these two ideas, the art of food
presentation became autonomous. It also became a means by which
a chef could impress his guests.

The progressive introduction, during the course of the 19th century of

the ‘service à la Russe’, meant that foods would come one after
another in individual servings, and that guests were no longer in
charge of serving themselves what they wanted, like they did in what
was better known as the ‘service à la Française,’ an earlier version of
what is known today as the ‘buffet.’

Auguste Escoffier wrote in the 1907 preface of his Guide Culinaire,

considered to be the bible of cuisine that, “the clients, requiring to be
served quickly, give us no alternative but satisfying them, or losing
them.” The solution offered by Escoffier was to rationalize
preparations in the kitchen which led to the separation of the cooking
brigade from the plating brigade.
 From Haute to Nouvelle Cuisine
Elaborate preparations and presentations served in small and
numerous courses characterized France’s Haute Cuisine. This cuisine
was very rich with sauces made out of butter, cream, and flour, the
basis for many typical French sauces that are still used today.

Early in the 20th century, Fernand Point, French restaurateur and

owner of La Pyramide, considered the world’s greatest restaurant,
introduced elements which later became hallmarks of Nouvelle
Cuisine. This cuisine brought Japanese influence on French chefs and
resulted in transformation of the culinary landscape.

The elements included seasonal ingredients with a focus on natural

flavours and simplicity as well as elegance on the plate. Point’s style
was consolidated by his protégé, Paul Bocuse, whose neat and
detailed presentation of food provided some of the most iconic images
of the increasingly popular nouvelle cuisine movement in the 1960s
and ‘70s. Nouvelle cuisine elevated the chef from a skilled worker to
an inventor and artist.

The nouvelle cuisine style of plating reached new heights with the
approach championed by such chefs as Alain Ducasse and Pierre
Gagnaire, both stars of the contemporary culinary scene. The next
generation of international chefs, led by Ferran Adrià of Spain,
associated with molecular gastronomy, and Grant Achatz in Chicago,
amongst others, took minimalism in cooking and presentation even
further and also introduced a difference.

In molecular gastronomy creation of new flavours and invention of

new presentation styles go hand in hand. The elements, previously
considered distinct, are interlaced in the process of culinary creation.
Molecular cuisine is a set of technologies and ingredients used to
produce a new style of high-end dining presentation. Technologies
from laboratories and texture agents borrowed from the food industry
have helped chefs enhance visual appearances of preparations in
totally novel ways.
Through this new technique, food can be abstracted from its original
form, giving rise to previously unexplored shapes and textures such as
foams, gels and spherifications. This approach has given rise to a new
form of artistic performance or experience design with the potential to
play with the diner’s imagination, to trick his expectations as well as
his senses.

Continental, European and Japanese cuisines lend themselves to

artistic interpretation in the hands of creative chefs. A progression on
the four other major plating styles, that is, the Classical, Nouvelle,
New American/Fusion and Global, is the current style of ‘Plate Frame’,
a trend towards a more productoriented approach, with respect for the
nature of the ingredients and a tendency for tableside service to
become much more theatrical in nature.

In the Plate Frame style visual presentation of a dish is as unique as

the food itself instead of being the chef’s standard signature. It is also
reproducible from plate to plate. Plating and presentation are used to
emphasize not just the chef’s culinary artistry but the uniqueness of
the experience being performed in front of the diner.

The Plate Frame forms one of the multi-sensory keys that the chefs
and staff can use to create a new form of the performaning arts, the
staging and orchestrating of culinary experiences.
 Ground Rules of Culinary Design
Plating, whether an art or science, has some ground rules that a chef
needs to follow. The first is to keep the plating simple. Highlight the
key Ingredient and use space to simplify its presentation. Clutter
distracts from the main elements of the dish and could confuse diners.

Balancing the dish means playing with colours, shapes and textures.
The presentation should not overpower the flavour and function. The
right amount of ingredients, the plate harmonizing with the dish, some
blank space, the right proportion of proteins, carbohydrates and
vegetables for a nutritionally balanced mealthese are all part of the
balancing act.

Cleverly cut or sculpted ingredients can enhance visual appeal of

dishes. Diagonally sliced fillets of meat placed geometrically shows
care and class. Sculpted fruits and vegetables provide height and
structure to keep the plate’s appearance neat and clean.
Garnishes serve to highlight the colour of the main dish. Accents can
be created in the form of dots on the side of the plate or as a character
on one side.

When applying a sauce, spoon it under the meat instead of on top as

this allows the meat’s crust to remain crisp. The garnish should be
edible and must enhance the flavour of the main dish, so use of
flowers, lemon twists or raw herbs is ruled out.

Garnishing should be applied quickly to ensure that the food arrives at

the table at the right temperature.

Unlike Western customs, Indian regional cuisine is generally plated in

the traditional Indian

Rice or roti being the main dish, occupies the central portion of the
round thali, while a variety of dishes like vegetarian and non-
vegetarian curries, dal, curd, pickles and other items are kept in
katoris or bowls circularly along the thali. In recognition of their
standing, royalty used to be served magnificent feasts daily in
ornamental gold or silver thalis with matching tableware.

Presently chefs are bringing back the traditional royal customs on

special occasions. For example guests at wedding banquets are
served sumptuous preparations in glittering thalis. Chefs, while plating
the traditional thali, need to introduce Western techniques by
innovative use of textures, colours, forms, balance and garnishes.
 Plating
The presentation of food to impress diners is the basic purpose of
food plating.

The Classical plating technique uses the three basic food items of
starch, vegetables and main in a specific arrangement.

A simple guide to Classical plating is to consider the plate as the face

of a clock.

Main: Between 3 o’clock to 9 o’clock

Starch: Between 9 o’clock to 11 o’clock

Vegetables: Between 11 o’clock to 3 o’clock

There are a few basic elements that are generally followed from the
planning to the presentation stages. These are:

Create a Framework

Visualize the plate settings with drawings and sketches. Set up a

‘practice’ plate to improve on the design and placements.
Keep It Simple

Select one ingredient to focus on and use the empty space to simplify
the presentation. Remove distractions, if any, from the dish. Use the
outside rim of the plate as a border, like a picture frame. Adding height
by layering or stacking ingredients gives the dish more depth.

Balance the Dish

Suitably arrange colour, shape and texture elements of the dish to

ensure diners’ attention. Presentation should not overwhelm diners.

Get Right Portion Size

Ensure that the plate complements the dish and the right amounts of
ingredients are placed, the portions being not too big or too small.
Create a nutritionally balanced meal with the right proportion of
proteins, carbohydrates and vegetables.

Highlight Key Ingredient

The main ingredient should stand out without diminishing the

supporting items which include garnishes, sauces as well as the plate.

Use a white backdrop

Serve the diner on a white plate to make the colours of the food stand
out, making the food more appealing.

Arrange in odd numbers

Food items in even numbers look odd on a plate, be it pastries,

sandwiches, etc. So put three or five of each, not two or four, on a
plate.

Play to the Senses

The senses of sight, smell, taste play a key role in the art of plating.
The balance and texture of each ingredient and how it suits the plate’s
composition must be taken into consideration.

Use sauces to create accents in the form of dots on the side of the
plate or as a character on one side of the plate.

When applying a sauce, lightly pour or drizzle it on the plate either

over the dish or underneath it.

Cleverly cut or sculpted ingredients enhance the visual appeal of

dishes. Sculpted food provides height and structure besides keeping
the plate neat and clean.

Sculpted decorations, cutouts and garnishes are made from

decorative materials and food for the buffet table. Decorative materials
that can be used include caviar, anchovies, hard-boiled eggs,
artichokes, asparagus, broccoli, celery, leeks, lemons, mushrooms,
olives, truffles and bell peppers in red, green, orange and yellow
colours.

Fish such as salmon and shellfish such as lobster, crab, prawns and
shrimps, sections of meat and poultry make excellent decorative
pieces. Crown roast, decorated saddle and cutlets made from lamb
and whole chicken and chicken breast are ideal decorations.

Garnishes help highlight the colour and enhance flavours of the main
dish. Over-garnishing of food just for visual appeal should be avoided.

Some guidelines to applying garnishes are as follows:

• Refrain from heaping garnishing on one corner of the plate
• Display colours and shapes by arranging garnishes around the
main dish
• Balancing colours is important
• Garnishes should add another layer of texture in harmony with
other ingredients.
• Use edible garnishes. Avoid using flowers, lemon twists,
cinnamon sticks or herbs
 • Apply garnishes quickly to ensure the food arrives at the table
warm

Indian food-speciality chefs need to work on colours and appearances

of their curries and make their dishes more appealing with creative
use of garnishes in keeping with the times.

Curry items are generally served in bowls with the traditional garnish
of sliced tomato, cucumber, onion, beetroot, carrot, red and white
radish, finely chopped fresh coriander leaves, slivers of ginger, green
chillies, dry fruits such as pistachio, cashewnuts and almonds, or a
dash of cream to add richness of flavour, or a sprinkling of chaat
masala to give a tangy taste, depending on the particular regional
cuisine.

North Indian and South Indian curries need to be considered first for
perfection in garnishing. In comparison, Mughlai curries and tandoori
items bear a regal appearance, especially with the generous use of
dry fruits and glittering varq.
Appetizers such as Tangri, Kakori, Galauti or Shami kebabs arranged
on a bed of salad leaves and decorated with pearly-white vinegar-
soaked onions, quarters of shiny yellow-skinned lemons and a
sprinkling of chopped green coriander leaves with can set the salivary
juices flowing.

There is no shortage of garnishes for decoration purposes in Indian

cuisine. Imaginatively used, garnishes can add to the eye appeal of
appetizers and salads. Green mint chutney, red tomato sauce or
yellow mustard paste can be used to create accents on the plate.

Some ways of plating sauces are:

• Lines, parallel or intersecting, draw attention to a certain point on
the dish
• Pull sauce with a spoon drawn through and it looks like a shooting
star
• Brush, using a pastry brush, to ‘paint’ the sauce onto the plate
• Droplets around the outside of the plated food look artistic
• Pools or droplets add colour, especially if there are two different
coloured sauces

The food, to create an impact on the diner, apart from the flavour and
eye appeal, should be served at the required temperature. If lamb
sizzlers get to the table at room temperature the diner’s temper is
bound to rise. Dishes or desserts to be served cold when chilled in
advance give a wider window during plating as it retains the textures
and refreshing flavours till the time the guest starts eating.
 Shapes and Designs
Balance is a crucial element in the culinary arts. Just as a combination
of spices, condiments and sauces makes the food tastier and the meal
memorable, visual appeal also has a lasting impact.

Balance is defined as a harmony of line, mass and colour. The line

forms the impression and mass provides the form. Advance planning
by making a sketch on paper should be considered before attempting
a design on the plate itself. Following the fundamental rules of rhythm,
colour, proportion, line, curve, balance and harmony at the planning
stage helps convey a sense of optical harmony.

Figure 1.
(a) to (f) Lines, waves and outlines

A line is the frame of a design. The shape, contour and strength give a
line’s growth, function, composure, repose etc.
(a) Small waves display fluidity.

(b) Vertical lines signify stability and tranquility.

(c) Slow, stretched curves hint at p e a c e f u l n e s s .

(d) A long single curve suggests elegance.

(e) Short curves indicate liveliness.

(f) Weak outlines suggest decay

Different lines give different impressions and a border pattern (Fig 2)

is created with an ‘onward’ movement through repetition. Border
designs should be composed of one or more design units and these
should be used exclusively around the border.

(a) Small waves display fluidity. (b) Vertical lines signify stability and
tranquility. (c) Slow, stretched curves hint at peacefulness. (d) A long
single curve suggests elegance. (e) Short curves indicate liveliness. (f)
Weak outlines suggest decay

Different lines give different impressions and a border pattern (Fig 2)

is created with an ‘onward’ movement through repetition. Border
designs should be composed of one or more design units and these
should be used exclusively around the border.

Figure 2. Vertical lines decorating the border

This conveys the required feeling of unity in the total pattern.

Expression of the character and feeling of the border will depend on
the style of the individual design unit. Should the border pattern have
more than one type of unit then the ‘unifying’ links must follow the
same pattern as the design unit. If they do not the total pattern
becomes disorganized.

Simple lines in a flowing curve (Fig 3) can produce a pleasing effect.

When they are supported by secondary lines the ‘onward’ movement
is considerably emphasized.

Figure 3. Curvatures originating from the stem

The design takes on a further dimension and a greater strength. The

curvature of the supporting lines is in relation to the main stem and
then progressively moves away at regular, even intervals.

(Fig 4) After a ‘correspondence of line’ there must be a ‘correspondence of contour.’ Figure 4.

Harmony in Nature

This feature is important when attempting to design a fruit or flower

and leaf motif. Nature shows in many ways how to achieve this
harmony of line and contour.
Weight of a flower is supported by the stem (Fig 5) which has a
particular curve. The individual line is known as the curve of force.

Figure 5. The curve of force

Representational designs of flowers and leaves are frequently used as

decorative motifs on bakery products, making this line one of the
important elements in designing.

This curve is also used as a common design factor in the making of

shapes (Fig 6) of other motifs while designing.

Figure 6. Curves conveying moods

Note the clear impression of (a) life and growth in one leaf sketch and
of (b) withering and decay in the other sketch.

The principle of radiation is one of the most widely used elements in

design and is a term used to indicate the direction of a subsidiary line
from a main line or common centre (Fig 7 & 8).
Figure 7. Varieties of radiation. (a) from the centre (b) a point (c) an axis (d) a base (e) a curve

Figure 8. Visual effects of radiation in Nature

Mass, including shape and form, is used in conjunction with line to

produce a fuller meaning to a design. Mass is the flesh that covers the
skeleton (line) to give the whole greater weight.

Mass must relate correctly with other features in the design to fulfill
this.

Specific types of relationships will produce equally specific effects.

Orderly repetition with regard to a central point or axis leads to
symmetry. Relationships involving ordered movements result in
rhythm. Additionally, relationships of size give rise to proportion.

Symmetry is produced by reversing form or line with reference to a

vertical axis centre.

Rhythm in a design is obtained when the flow of movement (Fig 9) has

a definite and harmonious arrangement

Figure 9. Flow of design portraying rhythm

Proportion in a design refers to relationship between areas,
dimensions or parts (Fig 10). The most pleasing proportion is that in
which the ratios between length and width were not easily
recognizable. This principle resulted in the proportion known as the
‘golden proportion.

Figure 10 Comparison of proportions, both bad (a) and good (b)

In design this proportion is important as it is useful when deciding

shapes and sizes. A good proportion is when the components are
neither too many nor so close in size that it becomes difficult to decide
which the dominant ones are.

Figure 11

Unity is the harmonious relationship between all parts of the design,

the ability to have this ‘built-in’ quality of holding together a design (Fig
11). It is also necessary to introduce variety in a design by varying the
shapes of units or parts, the declension of curves and the size of units.
The curves of the stalk here are different, one giving a strong contrast
but being completely unified and part of the design. The individual
curves also show variety, making them more interesting as examples
of simple design units.

Designing different shapes can be a complicated process as it entails

division of space and adjusting the design to follow the form of the
shape (Fig 12 a & b).

Figure 12

A circular shape in a square design (b) looks disturbing whereas a

round shape (a) in a round design is pleasing. The principles of
designing of special shapes are a drill in design formulation.

Figure 13. (a) to (c). Advancing designs of a vertical section.

The end result should be optical harmony. If the various factors are
badly used it will create optical discord and a poor design. It is
important to put the design down on paper before attempting the
actual exercise. See that the design is comfortable within the
framework of the area. If it is not then move the design pieces till the
correct effect is attained.

Balance is present in mass, and, most importantly, in area. When a

real or imaginary line (inceptive axis) is drawn vertically, horizontally or
across the area and around which the design units will be placed (Fig
13), balance is necessary.
(a) This sketch shows the rough distribution of mass and line.
The central leaf motif has three points of emphasis on either
side. The sketch is devoid of interest as a design.
(b) The sketch displays a re-arrangement of the masses, varied
in size and in proportion. The base has stability and the lines
carry an upward movement to the focal point at the top of the
design. The effect is pleasing. The disturbing features are the
two central points of the mass and the poor divisions of the
areas of space.
(c) In this sketch the two displeasing elements have been
eliminated by extending them into leaf forms resulting in a
pleasing balance of line, mass and space.

Fig 14. Balance is optical coordination of all factors in a design, and exist in mass, form,
colour, and mainly area.

Balance is optical coordination of all factors in a design, and exist in

mass, form, colour, and mainly area. Balance calls for a real or
imaginary line, or inceptive axis, drawn vertically, horizontally or
across the area and around which the design unit will be placed.

Formal balance is where equal areas of mass or line are placed on

either side of a central axis. Informal balance is when units of mass
may differ in size on each side of the axis but when viewed together in
the completed design produce equal optical balance.
 Figure 14. Inceptive axis and formal balance

Culinary design comes under two categories. First is representational

design represents an immediately recognizable form or shape such as
a flower or a leaf. This type of decoration is easy to execute.

The second is abstract design, mostly used in the creation of a border

pattern or as a basic design feature of salad bowls or platters of cold
meat.

Geometric aspects are associated with lines and mass conveying

solidity and curved lines signifying grace and charm.

The subject of design and decoration is incomplete without the vital

factor of colour. The simplest means of stimulating interest in culinary
design is by contrasting different colours. Small areas of intense
colour against a larger mass of a neutral colour effectively highlight
the food as a whole. Form and colour are intrinsic as ill-chosen colour
contrasts can reduce the effectiveness of a design.

The associative factor of colour is strong. Certain colours are

associated with associations and events. A few examples: Christmas
– white, red & green; Halloween – orange & dark brown; Easter –
yellow & chocolate brown; Valentine’s Day – white & deep red.
 Tools of the Trade
Knives, cutters and moulds are a few tools of the trade for creating
decorative works. There are a variety of kitchen knives used for
different tasks. Some knives with their functions are: boning knife for
removing the bones of poultry, meat and fish; paring knife for cutting
vegetables; garnishing knife to create a ripple design in hard
vegetables; carving knife for cutting meat; and fruit knife for citrus
fruits.

Knives are available in scalloped, serrated or saw-toothed edges,

each offering special advantages in different cutting tasks. Besides the
cutting-edge quality of the blade, the knife handle should be examined
for sturdiness, smoothness and appearance.

It is important that the tang of the knife, the extension of the knife to
which the handle is attached, extends at least one-third of the overall
handle in small knives and full length in large-sized knives. This is
important as the full tang extension gives extra strength and durability.
The chef’s knife slices and dices, minces, juliennes and de-bones. Its
wideranging utility accounts for the basic shape to remain relatively
unchanged.

Kitchen knives made in Japan are sharper and have a thinner blade
than those manufactured in Europe. Their hard and better quality steel
keeps the edge sharp for long. A thin bladed knife is lighter and is best
used for carving, slicing and dicing, not for heavy cutting tasks like
chopping through bones.

There have been small innovations: new metals, better handle design,
some blades roll a bit more, some are thicker, others thinner. The size
of the user’s hands, how the knife is held and what needs to be done
with it determine things like which handle type is preferable and what
weight is needed.

Another handy tool is the scoop which has three types. The disher is
used to measure a portion such as to make melon balls, the ice cream
scoop to serve ice cream, and the transfer scoop is used to measure
or shift an unspecified amount of a bulk dry foodstuff such as rice,
flour or sugar.

There are many other tools and utensils used for making patterns
and designs. These include:
• Egg slicer to neatly slice hard-boiled eggs.
• Mandoline is used to quickly slice vegetables such as radish and
cucumber very thinly.
• Butter curler is a hooked tool. Produces pretty curls when scraped
along the surface of the pat of butter.
• Parissienne cutter is used to scoop flesh from fruit and vegetables
and to produce melon balls.
• Vegetable scorers are handy in cutting grooved designs and lines
in fruit and vegetables.
• Piping bags and tubes are necessary for producing savoury
canapés and any other piping work.
 • Pastry brushes are used for putting aspic on a surface and
brushing pastry with egg wash or glaze.
• Metal cutters are used for cutting pastry, bread, and croutons.
The cutters are round shaped or scalloped.
• Moulds come in various sizes and shapes such as flowers, birds,
houses, leaves, hearts, etc.

Aspic cutters are a crucial part of decoration and motif production.

They are present in any kitchen where importance is given to
decoration. These cutters are usually made of tin in sets of 12 and are
available in two sizes. Mediumsized cutters are used for single-cut
garnishes, give attractive shapes and provide contrasts in shape and
colour combinations. Smaller cutters are used to create designs and
motifs such as flowers and border patterns
 Colour
Colour is an essential element in a dish in order to give visual stimuli
to a diner. Chefs should have an understanding of the use of
appropriate dyes and their effect of the colour of vegetarian and non-
vegetarian foods.

Bright red tomatoes, light green salad leaves, shiny white diced onions
and slices of yellow paprika arranged on a white salad plate provide
an assortment of colours on the table. Another technique to add colour
is by using sauces in the empty space left on a plate.

The ratio of food on the plate to empty space should be 40% food and
60% empty space. There are many ways of using sauce in this space.
Some methods of plating sauces are:
 • Lines: Parallel or intersecting lines draw the eyes to a certain
point on the dish
• Droplets: Drops around the plated food can be placed in a
pattern or at random
• Pools: Droplets within pools attract, especially with two different
colours of sauces
• Pulls: A pool with a spoon drawn through makes it look like a
shooting star
• Brushes: Use a pastry brush to paint the sauce onto the plate
• Foams: Bubbly foams can be prepared with a hand blender to
froth up the liquid

Different methods followed in the cooking of non-vegetarian

preparations changes the original colour of the basic raw material, be
it mutton, chicken or fish.
Braising, roasting, steaming or boiling alters the original colours of raw
materials as well as offering the chef scope to give an eye-appealing
tint to the dish under preparation. This is done by adding food
colouring or glazing to make their dishes look appetizing. Aji no moto
is a popular additive in South-East Asian preparations as it helps
retain the original colours of vegetables during cooking.

Addition of chemical food colours is not considered a healthy option so

some chefs use natural dyes to add distinctive colours.

Some dyes used in India are dried, powdered cockscomb or

amaranth, rattan jot or alkanet and Kashmiri chilli powder, all of which
impart a bright red colour; turmeric or haldi gives a bright yellow
shade; and saffron or dried crocus stigma a golden yellow tone.
 Carvings
Specialist chefs use fruit and vegetable carving as a culinary
technique. Cutting and slicing is done very stylistically and
methodically to create stunning centre pieces for parties and wedding
receptions. The decorative garnishing adds to the aesthetical
experience of viewers. In Japan and Thailand, fruit carving is
considered to be a part of the presentation of the meal rather than an
accessory. And today this work of art is popular the world over.

Origins of the art are disputed on whether it started first in Thailand,

Japan or China. Its Thai origins can be traced to the 13th century
when fruits were made more presentable for royalty, and later were
used to make presents for elders. The Japanese version, called
Mukimono is known as a leaf-like garnish technique with its first
records in the 16th century. Chinese history dates the art to the early
700s, when people carved animals and religious symbols on their fruit
and vegetable for thanksgiving offerings.
Fruits such as watermelons, musk melons, apples, strawberries and
pineapples, vegetables like pumpkins, cucumbers, radish, tomatoes,
carrots and beetroots are some of raw materials popularly used.
Melons and pineapples are carved into boats and bowls to grace
buffet tables. Tomatoes and carrots are shaped into roses and
carnations. Ginger roots are engraved into crabs and shrimps.

Garde manger carving sets includes corrugated and serrated U-

cutters, U & V-shaped carving tools and a fruit art carving set to create
edible art forms from vegetables and fruits. Crafted from super strong
stainless steel, these durable and extra sharp culinary tools such as
paring knives, seeding knives, melon ballers, peelers and slicers are
perfect for carving and essential for a professional chef garde manger.
Paring Knife, also called a Bird’s Beak Knife, has a sharp edge that bend inward. These
types of knives are used for fine carving work.

Zester Tool helps in making grooves and formulate strips such as a V-shaped cutter and
melon baller.

Melon Baller is used to make tiny round melon balls. With the baller carvings of a cube can
be created by using two types of melons.

Use V-Cutter to create flower petals or carve a swan by bisecting an apple to create wings
and then by pushing back each slice.
There are two types of carvings.

The first, Skin Carving is when the outer skin of the fruit or vegetable
is carved to reveal the fleshy centre, where the color is different than
the outer skin, to create a design using the contrast between the outer
skin and the flesh of the fruit.

The second type of carving is Three-dimensional Carving, the

purpose of which is to carve the fruit into a three-dimensional object of
the carver’s choice, the most popular being floral objects.

Each kind of fruit and vegetable has its own unique

characteristics. Here are some points to note when selecting
fruits and vegetables to carve:
• Onions should be fresh and wrinkle-free.
• Carrots should be straight and of medium or large-size.
• Radishes should be fresh, firm, and round.
• Cumbers with green skins have firmer flesh are better for carving.
• Plum tomatoes, with elongated fruits, are firmer than the round
varieties.
• Pumpkins should have thick, firm flesh.
• Papayas should be slightly unripe so that the flesh is firm and
does not bruise easily.
• Green mangoes should be fully mature and of a variety whose
flesh is not too crisp.
• Watermelons should have red flesh and green rinds with no
bruises or wrinkles.
• Apples should be fresh with glossy, brightly-colored skins and no
bruises.

Ice carving is another novel technique. Ice sculptures are made for
corporate events, product launches, birthday parties, anniversaries,
weddings and special events.

A one-block ice sculpture can range from 75 to 125 kilograms. The

average weight of a two-block ice sculpture is 150-250 kg and varies
depending on the design.

The ice sculptures and carvings are created by hand with an array of
ice tools, from chisels and chainsaws to angle grinders and ice irons.
Ice products can either be stand-alone artworks or function as
interactive pieces such as drinks fountains and ice serving stations.
 Appetizers
A small dish of food served at the beginning of a cocktail or as a pre-
buffet accompaniment to activate the taste buds is an appetizer. They
should be small in size, easy to eat, and manageable. They should
hold well on a toothpick, hold together, and should not drip. Appetizers
on sticks is another way of serving.

While planning, avoid similar types of appetizers and select an

assortment. It is important that appetizers be tasty, with colours,
garnishes and serving arrangements planned well in advance, as in
the case of the main buffet. The serving staff should circulate among
the guests with trays of hot appetizers as once the nibblers turn cold
their appeal is lost.
Hard-boiled eggs make an interesting Hors-d’oeuvre. Shell and halve
the eggs lengthwise, remove yolk and mix with minced chicken in
mayonnaise and minced black olive. Pipe mixture into the egg white
halves. Garnish with chopped tomatoes and mint leaves. Dips are
popular accompaniments with appetizers. They are simple to make
and draw attention when kept in attractive containers. Bowls of these
soft and well-seasoned mixtures attract guests effortlessly. Appetizers
on sticks positioned in a pin cushion made out of an inverted halved
aubergine are another way of serving. An ideal bowl for keeping the
dip or sauce on the table is half a scoop of pineapple.

Hors-d’oeuvre is another form of the appetizer and has a greater

scope for decoration.

The delicate flesh of the avocado, served with the acidic flavor of any
shellfish, brings out a rich taste. Cubed avocado served in a glass,
with diced cooked lobster, mayonnaise and tomato sauce is another
tasty Hors-d’oeuvre.

The salad section at a buffet table is given a pride of place as it opens

the way to the main meal. Two types of salads are the combination
salad and salad platter. The former is a composite salad containing
items other than vegetables and is presented in salad bowls. The
latter is displayed on flat dishes or platters and arrangements of the
vegetables of which they are made form a design.

Another type is moulded salad. It can be made from leftover food,

presents scope for a very high level of decoration, and can be
prepared in advance and refrigerated. Moulded salads are made from
unflavoured gelatin dissolved in heated vegetable or fruit juices or in
diluted cream soups of various kinds.

Syrup or juice from canned fruit should not be discarded. It can be

used to make the gelatin mould. The syrup should not be discoloured
or else it will not give the desired effect. Fruit juices can be used
directly with the gelatin except for fresh or frozen pineapple juice
which must be boiled and cooled slightly before mixing with the
gelatin.
The shape of the mould to be used should match the filling. Before
putting in the food or pouring the gelatin to make a moulded salad first
dip the mould in cold water and drain but do not dry the mould. This
helps in removing the jelly mixture when set.

There are many types of salad dressings. The rule is that the dressing
should be added just before serving the salad. Fresh salad greens
lose their texture and cucumber and fruit release liquid if the dressing
is left on them for too long. Suitable dressings for specific salads are:

Use heavy mayonnaise for meat and fish salads

Thin, spicy mustard for potato, cabbage and egg salads

French dressing is a mixture of salt, pepper, dry mustard, sugar, wine

vinegar and salad oil. It is used for vegetable salads such as tomato,
cucumber and asparagus.

An ideal appetizer is a bowl of tasty, hot soup. Consommé or clear

soup is popular perhaps because of its simplicity. A garnish for a
consommé is a necessity to present a contrast in the texture of the
liquid. Some garnish preferences are: sprig of fresh mint or toasted
almonds for chicken consommé and cream with dusting of nutmeg or
sliced cucumber for tomato consommé.
 Sandwiches and Canapés

Sandwiches, required for specific occasions, are categorized by shape

and appearance. Standard sandwich categories are pinwheel, ribbon,
mosaic, draught board and roll-ups. Besides the grain used to make
the bread, the shape and colour, other varieties vary depending on
additional factors as well.

Pav bhaji, Mumbai’s popular street food comprises a toasted bun

served with mixed vegetables cooked and spiced with a blend of
spices. BLT is named after its ingredients, bacon, lettuce, and tomato
in the USA. The club sandwich is a triple-decker sandwich filled with
slices of chicken, bacon, tomato, and salad leaf with mayonnaise.
Italy’s carrozza is a breaded and fried cheese sandwich, similar to the
Indian bread pakora.

Be it a baguette, a bun or a patty, the constant factor in sandwich

making is the butter spread. Liberal use of butter makes the difference
between a poorly made and an excellent sandwich.

The four-decked sandwich gateau coated with whipped cream cheese

gets an important place on the buffet table. Each of the decks should
be filled with differently-coloured filling to give a sense of contrast
when the gateau is cut.

Another popular item is the open sandwich. As the filling placed on the
bread slice is not covered with another slice like the conventional
sandwich, the scope for raising the level of decoration increases.

Dainty-looking canapés, in different shapes and a variety of colours,

look impressive on a buffet table. Standard canapés are easy to
prepare and commonly seen at buffet tables. Royal canapés, meant
for special occasions, have a thin layer of scrambled egg spread over
the buttered toast base, creating a softness of texture, and are always
glazed with aspic jelly.
 Desserts a Fitting Finale
Beautifully plated desserts, with their hi-visible impact, excite the
senses, giving an anticipatory sense of their taste and providing an
ideal finale to a meal. The four components of a plated dessert are the
main item, the dessert sauces, the crunch component, and garnish. A
plated dessert should have all these items besides the flavour, form
and colour, texture and temperature, garnishes, and the plate in which
it is served.
In the Western hemisphere people read from left to right. The
decorative aspect should be to promote a similar movement on the
plate.

An upward curve of a tuile, a curved French cookie, or chocolate

garnish, on the left of the plate, gives a connection between two
components with a caramel stick.Or the flow of coulis on the right side,
can help direct movement and create a focal point.

Details of dessert plating techniques regarding shapes, colours

and finishing touches are:
• The form or overall shape, usually geometrical, is the basic
structure of the dessert. This includes elongated rectangles,
circles, triangles and cross or checkerboard patterns. Such
shapes are useful in case the dessert is to be ‘deconstructed,’
creating a separate component from each ingredient and then
artistically arranging them on the plate.
• Colours play an important role as some help increase the appetite
compared to others. Creamy white, warm yellow, orange and red,
caramel, chocolate brown and lime green, for example, are
guaranteed to get the taste buds flowing. Violet, blue and black
may look stylish but they are considered to be unappetizing
colours.
• Texture is about giving the finishing touches, whether soft and
hard, crunchy and creamy, sweet and fresh, coulis, mousse,
parfait and ice cream. Pleasant contrasts lead to unique taste
experiences, creating a delightful harmony.

Some decorative desserts are made from various types of pastries

and the attractive edges stand out. The ornamental edges can be
braided, forked, fluted, polka dotted, ruffled, spooned or squared. An
attractive finish to a pie is given by glazing, with the top being shiny,
sugary or glazed.

Choux paste or choux pastry is a dough designed to make hollow

puffy pastries. Formed into the desired shapes, the resultant pastries
turn into display pieces when topped with ice cream, whipped cream,
chocolate sauce, strawberries or pineapple slices. The pastry can be
used to make profiteroles, croquembouches, éclairs, French crullers,
beignets, quenelles, Parisian gnocchi, dumplings, etc.
Meringue, a type of dessert, is associated with French, Swiss, and
Italian cuisine. Meringue items are a welcome sight as they can be
piped in different shapes and colours to decorate ice cream, fruit or
cream mixture.

Varieties of shapes and colours of Indian desserts or mithai is

fascinating. Delicate-looking white rasmalai and kheer, garnished with
green pistachio and almond slivers, conch-shaped white sandesh,
bright red gajar ka halwa, yellow-coloured, round, grainy laddus, floral-
shaped orange-coloured imartis, ball-shaped dark-brown syrupy gulab
jamuns are some varieties of exotic sweets served after most festive
meals.

Classical and traditional designs for desserts are always in vogue.

Regallooking rajbhog, kesar rasbhari and fine diamond-cut kaaju and
badaam katlees, decorated with almond and pistachio slivers, covered
with a thin sheet of silver varq, excite the viewer. The visual
presentation of an Indian dessert is as unique as the dish itself.
 Indian - Recipes

Veg Lollipop

Ingredients
2 raw bananas, peeled, boiled and mashed

¼ cup grated cottage cheese (paneer)

2-3 tablespoons grated broccoli

2 tablespoons grated red cabbage

¼ teaspoon turmeric powder

½ teaspoon red chilli flakes

½ teaspoon red chilli powder

½ teaspoon chaat masala

Salt to taste

Oil for shallow-frying

1 tablespoon cornflour

1 tablespoon refined flour

¼ cup dried breadcrumbs

Tomato ketchup for serving

Method
• Take bananas in a bowl.
• Add cottage cheese, broccoli, red cabbage, turmeric powder, chilli
flakes, chilli powder, chaat masala and salt and mix well.
• Divide the mixture into equal portions and shape them into lemon
size balls.
• Heat some oil in a non-stick pan. Mix together cornflour and
refined flour in another bowl.
• Add some water and mix well to make a smooth slurry. Take
breadcrumbs on a plate. Dip each ball in the prepared slurry and
coat with breadcrumbs.
• Shallow-fry the prepared balls in hot oil till golden brown and
crisp. Drain on absorbent paper. Skewer each fried ball in the
center of one toothpick.
• Put some tomato ketchup in individual shot glasses, place one
prepared lollipop on top and serve hot.
Aloo Nazakat

Ingredients
5 large potatoes, peeled

Oil for deep-frying

Chives for garnishing

Marinade
1 tablespoon oil

½ teaspoon turmeric powder

2 tablespoons red chilli powder

¾ teaspoon garam masala powder

1 tablespoon roasted gram flour

½ cup hung yogurt

Salt to taste

½ teaspoon dried fenugreek leaves

¼ tablespoon ginger paste

½ tablespoon garlic paste

¼ teaspoon green chilli paste

Stuffing
½ cup grated cottage cheese

½ cup boiled corn, crushed

¾ inch ginger, chopped

10 raisins, chopped

6 fried and crushed cashewnuts

½ teaspoon red chilli power

¾ teaspoon chaat masala

Salt to taste

½ teaspoon cumin powder

Method
• Preheat oven to 250ºC/475ºF.
• Slice off a thin slice from the top of four potatoes and scoop out
the centre to give a barrel shape. Keep the trimmings aside.
Halve the remaining potato. Blanch the potatoes in boiling water
for ten minutes. Drain thoroughly.
• Heat sufficient oil in a kadai and deep-fry the potato barrels, one
half of the fifth potato and the trimmings separately till light
golden. Drain on absorbent paper. Reserve some trimmings for
garnishing, mash the remaining and the remaining of the fifth
potato together.
• For the marinade, heat oil in a non-stick pan. Remove the pan
from heat and add the turmeric powder, chilli powder, garam
masala powder, gram flour and mix well. Add this to hung yogurt
along with salt, dried fenugreek leaves, ginger paste, garlic paste
and green chilli paste to make a smooth mixture.
• For the stuffing, mix together the cottage cheese, corn, fried and
mashed fried potato, ginger, raisins, cashewnuts, chilli powder,
chaat masala, salt and cumin powder. Stuff this mixture into the
fried potato barrels. Coat the potatoes with the marinade and
arrange them upright on a baking tray. Bake them in the
preheated oven for fifteen minutes. Slice and serve hot garnished
with chives and reserved fried potato trimmings.
Royal Hara Bhara

Ingredients
2 bunches (660 grams) fresh spinach, blanched and pureed

2 medium green capsicums, roughly chopped

2 cups chopped spring onion greens

4 green chillies

2 tablespoons oil + for shallow frying

1½ tablespoons caraway seeds (shahi jeera)

¾ teaspoon turmeric powder

2 tablespoons ginger paste

2 tablespoons garlic paste

1 tablespoon green chilli paste

1 teaspoon coriander powder

1 teaspoon green cardamom powder

1½ teaspoons Khazana garam masala powder

3 tablespoons crushed cashewnuts

Salt to taste

1 teaspoon chaat masala

2 tablespoons roasted gram flour (besan)

Green chutney, as required

For stuffing
8 tablespoons hung yogurt

2 green chillies, chopped

1 tablespoon chopped pickled ginger

2 tablespoons chopped almonds

1 teaspoon chaat masala

¾ teaspoon Khazana garam masala powder

Method
• Grind together the green capsicums, spring onion greens and
green chillies.
• Heat two tablespoons of oil in a non stick pan and add caraway
seeds. When they change colour, add the turmeric powder and
mix.
• Add the ginger and garlic pastes and sauté for a minute. Add the
green chilli paste and sauté for three minutes. Add the ground
paste and sauté for three to four minutes. Add the spinach puree
and cook, stirring, till dry.
• Add the coriander powder, green cardamom powder, garam
masala powder, crushed cashewnuts, salt and chaat masala and
mix well. Set aside to cool. Add the roasted gram flour and mix
well.
• For the stuffing, mix together the hung yogurt, green chillies,
ginger, almonds, chaat masala and garam masala powder. Divide
the spinach mixture into sixteen equal portions. Take each portion
in your palm and shape it into a small katori, fill it with the stuffing,
bring in the edges to enclose it completely. Shape into a ball and
press lightly to flatten it.
 • Heat the remaining oil on a non stick tawa, place half the kababs
on it and shallow fry, turning sides, till crisp on both sides. Cook
the remaining kababs in the same way. Serve hot with green
chutney.

Mutton Shammi

Ingredients
250 grams minced mutton

8 teaspoons oil + for deep-frying

1½ medium onions, sliced

2 tablespoons pure ghee

½ teaspoon caraway seeds

2 dried red chillies, broken

½ inch ginger piece, roughly chopped

5 fresh garlic cloves, roughly chopped

1 tablespoon split Bengal gram, soaked for ½ hour

¼ cup + 1 tablespoon fresh mint

¼ cup + 1 tablespoon fresh coriander

½ tablespoon lemon juice

Salt to taste

1 egg

Method
• Heat sufficient oil in a kadai and deep-fry the onions till well
browned. Drain on an absorbent paper.
 • Heat the ghee in a non-stick pan, add the caraway seeds, red
chillies, ginger and garlic and sauté for one minute.
• Add the minced mutton and sauté for five minutes, stirring
occasionally.
• Drain the Bengal gram and add to the pan. Stir and sauté for one
minute.
• Add the fresh mint and fresh coriander and stir well. Cook for five
minutes. Set aside to cool.
• Grind the mixture with the fried onions, lemon juice and salt to a
coarse paste. Divide the paste into eight equal portions and
shape into flat patties.
• Break the egg into a bowl and whisk it well.
• Heat two teaspoons oil in a shallow non-stick pan. Dip two
kababs in the whisked egg and place them in the frying pan and
shallow-fry, turning sides once, for three to four minutes or till both
the sides are cooked and lightly browned. Cook the remaining
kababs similarly.
• Serve hot with green mint and coriander chutney and onion
lachcha.

Mutton Seekh Kebab

Ingredients
500 grams mutton mince

50 grams mutton fat

1 medium onion, chopped

6 green chillies, chopped

2 tablespoons chopped fresh coriander leaves

1 tablespoon garlic paste

1 tablespoon ginger paste

1 teaspoon roasted cumin powder ½ teaspoon garam masala powder

1 tablespoon Kashmiri red chilli powder

Salt to taste

Oil/butter for basting

2 tablespoons chaat masala

2 lemons

Green chutney for serving

Method
• Preheat the oven to 2400C.
• Mix together the mutton mince, mutton fat, onion, green chillies
and coriander leaves and blend to a fine consistency. Add garlic
paste, ginger paste, cumin powder, garam masala powder, chilli
powder and salt and mix well.
• Divide the mixture into 12 equal portions. Pat the mince mixture
with moist hands onto skewers and shape into kababs.
• Cook the kababs in the oven or in a hot tandoor till almost done.
Baste with butter or oil and continue to cook till completely done.
Sprinkle a little chaat masala and lemon juice and serve hot with
green chutney.
Bharwan Aalu Tilnaaz

Ingredients
4 small potatoes (aloo), parboiled

2 cups white sesame seeds (til)

Oil for deep-frying

½ cup grated cottage cheese (paneer)

8-10 cashewnuts, chopped

2 green chillies, chopped

½ inch ginger, chopped

2 tablespoons chopped fresh coriander leaves

2 teaspoons fresh pomegranate pearls

Salt to taste

1 cup hung yogurt

½ cup roasted gram flour (besan)

1 tablespoon mustard oil

2 teaspoons garam masala powder

½ teaspoon red chilli powder

½ teaspoon coriander powder

Mint chutney for serving
Method
• Heat sufficient oil in a kadai.
• Cut potatoes in halves and scoop out the flesh. Deep-fry the
shells till golden brown. Drain on an absorbent paper.
• Mix together the potato flesh, cottage cheese, cashewnuts, green
chillies, ginger, coriander leaves, pomegranate pearls and salt in
a bowl.
• Stuff the fried potato shells with cottage cheese mixture and set
aside.
• To make the marinade, mix together yogurt, gram flour, mustard
oil, garam masala powder, chilli powder and coriander powder in
another bowl.
• Preheat the oven to 180° C.
• Coat the stuffed potatoes with the prepared marinade, roll in
sesame seeds and place on a baking tray. Put the tray in the
preheated oven and bake for 15-20 minutes.
• Serve hot with mint chutney.

Semolina Crusted Fish

Ingredients
300 grams rawas fish fillets, cut into 1 inch pieces

½ cup fine semolina

1 tablespoon ginger paste

1 tablespoon garlic paste

Salt to taste

2 tablespoons lemon juice

2 teaspoons red chilli powder

½ cup coarse rice flour

Oil for deep-frying

Fresh coriander sprigs for garnishing

Salad
2 spring onions, halved and charred grilled

4 cherry tomatoes, halved

1 small carrot, thinly cut into quarters

1 small radish, thinly cut into quarters

½ cup micro greens

Salt to taste
Method
• Marinate fish with a mixture of ginger paste, garlic paste, salt and
lemon juice for half an hour.
• Mix together semolina, salt, chilli powder and rice flour in a bowl.
• Dust the marinated fish with semolina mixture and set aside.
• Heat sufficient oil in a kadai and deep-fry the fish pieces till
golden and crisp. Drain on absorbent paper.
• Mix all the ingredients together for salad.
• Garnish the fish pieces with coriander sprigs and serve hot with
the prepared salad.

Murgh Biryani

Ingredients
500 grams chicken, 1½ inch pieces on the bone

1½ cups basmati rice, soaked

1 tablespoon ginger paste

1 tablespoon garlic paste

1 teaspoon green chilli paste

1 tablespoon coriander powder

1 tablespoon cumin powder

1 teaspoon garam masala powder

1 teaspoon green cardamom powder

Salt to taste

1 cup yogurt

3 tablespoons olive oil

1 bay leaf

4 cloves

2 green cardamoms

1 black cardamom

5 cups chicken stock

A few saffron strands

1 tablespoon milk

1 teaspoon caraway seeds (shahi jeera)

1 inch ginger piece, cut into thin strips

2 medium onions, sliced and deep fried

½ cup chopped fresh mint leaves

2 tablespoons chopped fresh coriander leaves

1 teaspoon kewra water

1 teaspoon rose water

Method
• Marinate chicken with ginger paste, garlic paste, green chilli
paste, coriander powder, cumin powder, garam masala powder,
green cardamom powder, salt and yogurt for about half an hour.
Heat one tablespoon olive oil in a pan. Add bay leaf, cloves,
green cardamoms and black cardamom and sauté for half a
minute.
• Add rice and sauté for a minute. Add chicken stock and bring it to
a boil. Reduce heat and cook for eight to ten minutes or till the
rice is three fourth done. Drain and set aside. Soak saffron in milk.
Heat remaining olive oil in a thick-bottomed pan. Add caraway
seeds and sauté. Add marinated chicken pieces and sauté for
three to four minutes or till it is half cooked.
• Remove the pan from heat. Spread the rice over the chicken.
Sprinkle saffron milk, ginger strips, fried onions, mint leaves,
coriander leaves, kewra water and rose water. Cover and cook on
dum for fifteen to twenty minutes on low heat.
• Serve hot with a raita of your choice.

Fish Biryani
Ingredients
500 grams king fish fillets (surmai), cut into 1½ inch cubes

1½ cups basmati rice, soaked

2 one inch cinnamon sticks

Salt to taste

6 green cardamoms

2 black cardamom

4 cloves

2 bay leaves

5 tablespoons ghee

8-10 cashewnuts

10-12 black raisins

2 medium onions, sliced

1 teaspoon ginger paste

1 teaspoon garlic paste

20-25 fresh mint leaves

3 tablespoons chopped fresh coriander leaves

½ cup fried onions

1 inch ginger, cut into thin strips

2 green chillies, slit

A pinch of saffron, dissolved in two tablespoons of water

1 teaspoon garam masala powder

Fresh mint sprigs for garnishing

Marinade
1½ cups yogurt

2 green chillies, chopped

½ cup fried onions

2 tablespoons ginger paste

2 tablespoons garlic paste

1½ teaspoons red chilli powder

¼ teaspoon turmeric powder

1 tablespoon garam masala powder

1 tablespoon lemon juice

Salt to taste

Method
• Mix all the ingredients of the marinade in a bowl. Add the fish
cubes, mix and set aside for half an hour.
• Take six cups of water in a deep non-stick pan. Add one
cinnamon, four green cardamoms, one black cardamom, cloves
and bay leaves and bring to a boil. Add drained rice and cook till
almost done. Drain.
• Heat three tablespoons ghee in another deep non-stick pan. Add
cashewnuts, raisins, remaining cinnamon, remaining green
cardamoms, remaining black cardamom, onions, ginger paste,
garlic paste and sauté till golden brown. Add the marinated fish
and cook for about two minutes, stirring gently.
• Top it with rice. Add hand torn mint leaves, coriander leaves, fried
 onions, ginger strips, green chillies, saffron water, remaining ghee
and garam masala powder. Cover and cook on dum for half an
hour. Serve hot garnished with mint sprigs and raita of your
choice.

Maas ke Sooley

Ingredients
500 grams boneless mutton, cut into 1 inch pieces

½ cup + 1 tablespoon ghee

2 medium onions, sliced

Salt to taste

2 teaspoons red chilli powder

1 tablespoon garlic paste

2 teaspoons raw papaya paste

4-5 cloves

Method
• Heat half cup ghee in a non-stick pan. Add the onions and sauté
on medium heat till golden brown and crisp. Drain on absorbent
paper.
• Transfer the onions in a blender jar and blend to a fine paste with
sufficient water. Marinate the mutton pieces with onion paste, salt,
chilli powder, garlic paste and raw papaya paste. Heat four to five
charcoal pieces on direct flame.
• Place a steel bowl in the middle of the mutton bowl and put the
coal pieces in it. Drizzle one tablespoon ghee, cloves and cover
immediately. Set aside for one hour.
• Thread the mutton pieces onto skewers and cook on open fire till
the mutton is fully done. Serve hot with roti and salad of your
choice.
Malai Prawns

Ingredients
24 (300 grams) medium prawns

2 teaspoons garlic paste

1 teaspoon green chilli paste

8-10 cashew nuts, ground

1 teaspoon green cardamom powder

⅓ cup cream

3 tablespoons grated processed cheese

Salt to taste

2 tablespoons melted butter

1 tablespoon lemon juice

1teaspoon chaat masala

Method
• Peel and devein the prawns, leaving the tails intact.
• Mix together the garlic paste, green chilli paste, ground cashew
nuts and cardamom powder. Add the cream, cheese and salt and
mix.
• Add the prawns, mix thoroughly and set aside, preferably in a
 refrigerator, for at least half an hour.
• Preheat the oven to 200°C/400F/Gas Mark 6.
• Thread the marinated prawns onto skewers and cook in the
preheated oven, or in a moderately hot tandoor for about three to
four minutes, turning them occasionally.
• Brush the cooked prawns with butter and cook again for a minute.
• Sprinkle lemon juice and chaat masala and serve hot with green
chutney.
Chocolate Samosa with Cappucino
Cream

Ingredients
For covering

2 cups refined flour (maida)

¼ cup ghee

Oil to deep-fry

For stuffing

250 gms dark chocolate

1 cup fresh cream

For cappuccino cream sauce

1 egg yolk

5 tbsps sugar

1 cup fresh cream

1 tsp instant coffee powder

To serve

Pomegranate seeds to garnish

Method
• Sieve maida. Rub ghee into it and knead into a stiff dough using
water as required. Keep covered with a damp cloth.
• Mix grated chocolate and fresh cream and keep chilled in a
refrigerator.
• Divide dough into sixteen equal sized portions and roll out into
oval shapes. Cut into half, fold into a cone and fill with chocolate
stuffing. Seal and refrigerate.
• To make cappuccino sauce, whisk egg yolk with sugar till fluffy.
• Pour fresh cream into a pan and heat it gently. As it begins to boil,
stir it into the egg mixture. Pour this back into the pan and cook
on low heat, stirring continuously.
• Add instant coffee powder and continue to cook till sauce coats
the back of the spoon. Remove from heat and strain. Let cool and
place in freezer to chill completely.
• Heat sufficient oil in a kadai and deep fry samosas on medium
heat till golden and crisp. Drain onto an absorbent paper.
• Serve samosas with cappuccino cream sauce garnished with
pomegranate seeds.

Golgappa Espresso Shots

Ingredients
16-20 crisp golgappa puris

2 espresso shots
1 cup chopped dark chocolate

3 tablespoons fresh cream

1 teaspoon + ½ cup milk

5-6 chilled motichoor laddoos

2 scoops vanilla ice cream

Ice cubes, as required

Method
• Place the espresso shots in a coffee maker and collect the coffee
in a cup. Heat a small non-stick pan.
• Add the dark chocolate, cream and one teaspoon milk. Mix well
and cook till the chocolate melts.
• Take the chilled laddoos in a bowl. Add two tablespoons of the
chocolate mixture and mix well. Break a little portion of the puris
from top. Pour the espresso coffee in a shaker.
• Add the vanilla ice cream, two tablespoons chocolate mixture, ice
cubes and half cup milk. Close lid and shake well. Pour into
individual shot glasses. Fill the laddoo-chocolate mixture in the
puris and place them on the shot glasses.
• Serve immediately.