•ii
Gdrafd Ubassy
Shape and Color
The Key to Successful Ceramic Restorations
qutoQcArcAos
book/
Shape and Color
The Key to Successful Ceramic Restorations
Gerald Ubassy
Dental technician , Avignon, France
Q
Quintessence Publishing Co, Inc
Chicago, Berlin, London, Sao Paulo, and Tokyo
Title of the Original French Edition:
Formes et couleurs - Les cl6s du succ6s en c ramique dentaire
© 1992 by Qumtessenz Verlags- GmbH. Berlin
^
© Editions CdP. Paris 1992.
diiiVERSITY HF 11
JUL
DEIITAL Li'diiiiiiY
?
'
Library of Congress Cataloging-in-Publication Data
i «
.
Ubassy Gerald.
[Formen und Farben. English]
Shape and color : the key to successful ceramic restorations /
Gerald Ubassy.
p. cm.
Includes bibliographical references and index.
ISBN 0-86715 - 207-9
1. Dental ceramics. 2. Fillings (Dentistry) 3. Inlays
(Dentistry) 4. Dentistry - Aesthetics. I. Title.
.
[DNLM: 1. Dental Restoration Permanent. 2. Dental Porcelain.
.
3. Ceramics. 4. Estetics Dental. WU 190 U12f 1993a]
RK655, U2313 1993
617.6’95-dc20
DNLM/DLC
for Library of Congress 93-1039
CIP
quintc // cncc
book /
Copyright © 1993 by Quintessence Publishing Co. Inc.
Lithography: Toppan Printing Co., (H. K .) Ltd., Hong Kong
Typesetting, Printing, and Binding: Bosch- Druck, Landshut/Ergoldmg
ISBN 0 - 86715- 207- 9
Contents
Preface 7
Acknowledgements 11
Foreword 13
:r-
r6 1 Basic Terms of the Phenomenon of Color 17
- Absorption and Reflection 18
v0
OQ - Light , Color, and Pigments in Dental Porcelain 18
- Additive and Subtractive Syntheses 20
r0 - The Language of Colors 20
0- - Simple and Complex Grays 23
ri
i 2 Relation of Personality, Facial Esthetics, and Dentolabial Esthetics 25
r
3 Colored Wax 31
c - Educational Advantages 32
S 7 - Psychological Advantages for Better Communication 33
4 Color Selection 41
- Breaking Down into Coats 42
5 The Three-Dimensional Shade Guide and Changing Luminosity of Colors 49
6 Instruments 51
7 Basic (Opaque) Porcelains 57
8 The Ceramic Shoulder 61
- Prerequisites for a Ceramic Shoulder 61
- Preparing the Die 61
- First Shoulder Porcelain Bake 61
- Second Shoulder Porcelain Bake 63
9 Artificial Gingiva 67
- Fabrication of Removable Artificial Gingiva 69
10 Processing and Natural Layering of Metal Ceramic 73
- Table of Firing Temperatures 88
5
Contents
11 Tricks to Make Porcelain Layering Easier 91
- Fabrication of a Multi-Span Fixed Partial Denture 91
- Fabrication of Anterior Fixed Partial Dentures 91
- Layering and Firing of the "Dentin" Core 91
- Density of Porcelain During Layering Procedure 94
- Another Trick: Grinding the Incisal Guidance 94
12 Lateral Segmentation and Enamel Cracks 97
- Restoration and Segmentation for Teeth of Older Patients 98
- Segments of Different Opacity 98
- Restoration and Segmentation for Teeth of Younger Patients 98
- Segmentation of Posterior Teeth 98
- Modeling Criteria for Porcelain of Superior Optic Quality 99
- Enamel Cracks 99
13 Transparency and Translucency 109
14 Original Colors in Dental Ceramics 115
15 Porcelain Inlays and Onlays 119
- General Criteria for Preparation of Ceramic Inlays and Onlays 119
- Preparing the Working Cast 121
- Thermal Processing of the Investment 122
- Modeling of a Medium-Sized Inlay 123
- Modeling of Smaller Inlays 128
- Modeling of Large Onlays 128
- Removal of the Investment 131
- Natural-Appearing Fissures 135
16 Leucite-Reinforced Ceramic 141
- IPS Empress : A New Technology in Dental Ceramics
(contributed by Gerhard Beham) 141
- The Material 143
- Working Procedures 150
- Pressing Technique 152
- The IPS Die Material in Dentin Colors 153
17 Post and Core in Ceramics 179
- Fabrication of a Porcelain Post and Core 180
18 Facial Veneers 185
- The Empress Method for Porcelain Facial Veneers 188
19 Analysis of the Surface Structure - Polishing 197
- Observation and Application of Information 197
References 213
Index 215
6
Preface
The development of new techniques and character of the patient . Artificial teeth should
materials enables the contemporary dental definitely reflect all these parameters and
technician to satisfy even those patients who include the finest detail regarding shape and
are particularly concerned about the esthetics microshape as a contribution to perfect
of their teeth. Because of this legitimate integration of dental restorations.
expectation, our profession must keep con- It is obvious that periodontal conditions as
sistently informed and must exchange infor - well as functional aspects must be con-
mation. Thus the basic thought that kept me sidered while striving for form, color, and
motivated while completing this textbook was esthetics because they stand for long-lasting
the strong desire for "communication” - a success.
keyword and characteristic of a progressive Consequently, I envisage an ideal where a
profession. dental restoration is not only represented by
This book is dedicated especially to those its name and function but even more so by
technicians who apply our methods in prac- its appearance.
tice. Clinical aspects are part of every chapter None of this can be accomplished, how-
in order to imbue the described methods ever, without close collaboration on the con-
with necessary pertinence and reliability. cept and the goal, or without excellent inter -
Another keyword of our book is observa- personal contact between dentist and dental
tion, which is the basis of my work , and technician.
nature as a most important “ keyhole." This book is highly illustrated because dia-
The study of shapes and microshapes and grams and photographs represent the best
how they interact with color is the guideline of explanation for many techniques.
this book. These studies are of utmost impor - Finally, I admonish the reader to remember
tance to me. that all results should be questioned over and
On the other hand, I abolished concepts over if we are to progress beyond our current
that are all- too- rigid and that merely stereo- possibilities and knowledge.
type artificial teeth. This influenced me to take
into consideration characteristics such as
gender, personality, morphology, and the Gerald Ubassy
7
Preliminaries
8
Andre Moreau ,
Bernard Touati
refraction
primary secondary
A ).
D) .
l
(A)
(B) (C) (D)
( E) (F )
*
i
additive syn-
thesis.
subtractive
synthesis.
Additive synthesis:
Subtractive synthesis:
Hue
Atlas of the
Color System
Value brilliance
Chroma saturation
Munsell
Fig 1-7
Figs and
IW *+ t
•r i »
\
f r / /' *
t
-
/
>v s \ • V
” *?£W &
r £
i ••
! |
*' /J
p ( left )
( right )
(left )
( right )
(left )
(right)
40
::
; ••
t i \
WT i :-
;
s
•
!i
fl
i
i % ii
*
= $5
i.::
: :.i
!: j -
: :ii
:
::
ft ilri
V-
" :!
i
\
=:
i-i :'
i::
l!a :
Id
i
j*
ii
a
ii.
ii
!
%
•
ii
i
9
Fig 4-6
iv
.:
*
V.
l- : :
r:i.
Fig 4-7
ii
. Vi
ii Fig 4- 8
1 i;
k
Is ii:
<
-23V
RSI
ea&
Fig
III
I if !!!
U
i
>
II
t if £
! if ;
f ij
!
! i;
a
I ii t:
Ii
•
iii
Ill
Ii I
i yy fr
iI [•
15 vi-
i
s .
S ;'
I if
ill
I
ii |!
Ml
:!
iii iu
I in hi
§
Ii
ill
if!
IP |
i i!
i II i
l
!
!Mi
:•
(above)
5 si; ( left)
fli
ii a
(B)
( A ).
sr
Modeling brush .
}
Figs 6-12 and 6-13
Fig 6-14
l
Fig 8-1
Fig 8-2
Fig 8- 3
\
Fig 9-2
Fig 9-3
Fig 9-4
Fig
Fig 9-6
Fig 9-10 Fig 9-11
Fig 9-12
i *
(1)
(2)
Brilliance
( A)
(B)
(C)
( A) ( B)
(C) (D) ( E)
(F) (G)
The main goal
create a sense of maximum
depth and concurrently minimum thickness.
Firing of covering gold
Application of the first layer of highly
saturated dentin porcelain and orange dentin
%
«
T
8
j
M-
rlMi
Figs 10-19 to 10-22
13,
c
porcelain onto the proximal and occlusal sur
faces
Application of the third layer, a mix of basic
color dentin porcelain and 50% of the neutral
dentin mass I- D1
Application of the second, slightly less
saturated dentin porcelain
r
Fig 10-29 Fig 10- 30
Application of transparent porcelain and
characterization of colors according to lateral
segmentation technique
Application of incisal porcelain according
to lateral segmentation technique
Fig 10-31 Fig 10- 32
Fig 10- 33 Fig 10- 34
( A) ( B)
( A) ( B)
(C) (D) (C)
(E )
(F) (G)
\
t -
i
1
.
1
©
the procedure is easier and it enables the
technician to create a highly esthetic restora-
tion according to the following three signifi-
cant parameters:
i
Figs 11-1 to 11-13
Fig 11-1 (A)
first bake.
Fig 11- 2 ( B)
( A)
second bake.
Fig 11- 3
( A)
(A) third bake.
Fig 11- 4
(1)
(2)
( A)
(A) ( B) ( B)
(C) ( D)
Fig 11-13 Fig 11-14 urn.
Figs 11-15 and 11-16
Fig 12- 1
A
>
Third criterion:
First criterion:
Second criterion:
i
i
Scheme of
enamel cracks
F. delicate white
M
D
i
F. brown and wide
I
M3 M4 Distribution
3p 1p of powders
o 6B + o 03 x
1/ 4 3/4
Gray
D 2 A + iD 6 + iD 3
6p 3p 1p
Fig 12-8
Fig 12- 9
Fig 12-10
(left )
(right)
Transparent
Incisal Segment Segment
Wide Crack
Fig 12-17
135°
Fig 12-18
Fig 12-19
11.
f
Transparency of a natural tooth .
Enamel.
Figs 13 1 and 13-2
*
Working with transparent and translucent
porcelains.
Working with transparent material .
Fig 13-7 (left)
(right)
Figs 13-8 and 13-9
1/3
V i
•
i
*
® Transparent , dark blue porcelain.
© Slightly milky, opalescent porcelain.
Translucent , sun-colored porcelain.
Fig 14-1
© Mother-of-pearl-like incisal porcelain.
Fig 14-6
( A ).
( A)
(B )
(C)
( A) ,
(B)
( A)
( A)
(B )
( A).
Figs 15-15 and 15-16 Firing of the " intense" porcelain. The intense orange (MV. Maverick kit), is applied to the floor
of the cavity ( B ) All margins are covered with transparent porcelain without extending the application over the
finish line ( A) This should create an optimal color transition from the ceramic to the enamel surface. In the center,
the porcelain is cut through to the cavity floor. This cut effects a directed firing shrinkage from the center to the
periphery, thus preventing a detachment of the material from the cavity walls.
( A) ( B) (C) ( D)
Figs 15-20 and 15- 21
( A) (B ) (C)
( D)
Fig 15- 22 Fig 15-23
( A)
( B)
( B)
( A ).
(C)
( A)
( B)
(C)
( D)
(E )
(A)
( B)
(C)
(D)
(E)
(F)
(G )
( A)
( B)
(C) ( D)
(E )
( F)
(G )
( A ).
( B ).
140
(left ) (right )
(above)
( below )
1600
r
+30 +20 +10 0 -10 - 20 - 30 - 40 - 50 - 60 -70 - 80 m kp / nW
r-
1400
800
600
400
( green
yellow =
II
III -
A
!'
T —i . j 14- 1 y IJIJI A i k.ii
i \ ——
1 r
1 ill
“T*
2A 1B,
2B
1.9 r
..
.
.3
.i
300 600
5eg_. Korr
V 0276 i: iV
( red) , (green).
( A) (green)
( red )
( B)
(C)
Gerhard Beham ,
{ green
( red
:n
( A) ,
(C).
( B) ( B) ,
(B).
( A).
f
(left ).
(middle) (right).
Intraoral forces
Fracture
(above)
( below )
( A). (C)
(B) ( B ).
( A)
(C). (B)
( B)
( A)
f & M
(M
f
( A) (B)
( A) ( B)
( A) (B)
(B ).
( A and B)
( A)
(C and D)
( B, C, D).
(B ) ( A ).
not
(C);
( A): ( B).
B
(C).
.
/
K
i \
i
»
. •I
t
.
Vk
©
Figs 17-1 to 17-4
Figs 17-1
(A)
(B )
(C)
Fig 17-2
Fig 17- 3
( A) (B)
(C)
Fig 17-4
( A) (B)
(C)
( D)
( B)
( A).
(B)
( A) ( B)
B B
( B)
(A).
(C).
( B ).
( A)
(B).
-J t :
V
\ /', li
i I
1 \
%
jjy*
Figs 18-27 and 18- 28
r
- i S
*
» v;
,i 1
\ %
7
\ V «1
f \
\ '
V
i
~+l :i+
Figs 18-29 to 18-31
Figs 19-12 and 19-13
Fig 19-12 ( X ) (Y)
(Z) (A)
(B )
Fig 19-13 ( X ) (Y)
( A) ( B)
Fig 19-14
(A) ( B)
( X)
(A ) (B )
Fig 19-18
Fig 19-17
Fig 19-19
( A) ( B)
(Y)
(A)
( B)
(Y)
•M
Jean- Marie
Milesi Jean- Frangois Zalejski.
Abendroth U. Hegenbarth EA .
Adair PJ. Itten J.
Adair PJ, Grossman DG . Kedge M . Preston JD
Aliard Y.
Anusavice KJ. Klug HP
Preston JD
Knellessen C, Degrange M .
ASTM , Kartei:
Kuwata M .
Barreiro MM .
Lejoyeux J.
Beham G. Mac Culloch WT.
Bottger, H , Bosenbauer KA , Pospiech P Mackert JR.
Bourelly G , Prasad A. Muia PJ.
Muterthies K .
Bowen KH.
Cavel WT, Kelsey WP III , Barkmeier WW, Blankenau RJ. N. N.
Parramon J - M .
Chiche GJ, PinaultA.
Pichard C.
Rouffignac M de, Cooman J.
Prasad A , Day GP, Tobey RG.
Preston
Dubois de Chemant N . JD
Glocker R. Roge M , Preston JD.
Grossmann DG. Shillingburg HT, Jacobi R , Brackett SE .
Simon J, Feuillerat B, Rivoire G, Kraft J - L. Ubassy G.
Ubassy G.
Soom U. Ubassy G.
Vidal R Dejou J, Deyez O.
Stookey SD.
Vogel W.
Touati B, Bersay L .
Wohlwend A , Strub JR , Scharer P
Touati B.
Touati B, Pissis P Wohlwend A.
Touati B, Pissis P, Miara P
Yamamoto M .
A
Atlas of the Munsell Color System
B
See also
D
M
N
E
P
See also
R
