Dental Asia Sep/Oct 2020

46 DENTAL ASIA SEPTEMBER / OCTOBER 2020 Behind the Scenes P reserving tooth structure is paramount in cosmetic reconstruction. In these cases, dentists usually restore the teeth with highly individualised, hand-layered veneers. Hence, dental technicians face the challenge of precisely reproducing the natural play of colours and light on a limited space. The procedure requires veneering ceramics with high luminosity which can create ideal light dynamics, even with minimum wall thicknesses. Also, with this delicate type of reconstruction, the veneering ceramic must have good fracture strength to ensure safe manual reworking and seating. In the following case study, Mr Marcio Breda, master dental technician, and Dr Estefânia Donato show how VITA LUMEX AC can address the patient’s aesthetic concern. CASE DESCRIPTION A 35-year-old female patient visited the dentist’s office as she was dissatisfied with the aesthetics of her anterior maxillary teeth. Upon clinical examination, irregular incisal edges was noted. Additionally, the dental arch and the gingival profile were not harmonious. The length to width ratio was also not adequate. Previous defects were filled with dull composite fillings, and teeth 11 and 21 were discoloured. The patient wanted a level dental arch, uniform tooth colour and an individualised, age-appropriate appearance for her anterior maxillary region. She agreed to use individually layered veneers made of VITA LUMEX AC veneering ceramic for the restoration. PLANNING AND PREPARATION A wax-up was created to help visualise the outcome of the treatment. After a few minor changes, a silicone key was produced on the wax- up to transfer a direct mock-up into the patient’s mouth using low viscosity composite. The patient and dentist were satisfied with the results and proceeded to the next step. Reproducing the natural play of colours in a limited space using VITA LUMEX AC veneering ceramic Fig. 1, initial situation: The immediate temporary restoration was created with a silicone key of the mock-up Fig. 2: Production of the master model Fig. 3: Refractory dies were produced using the master model Fig. 4: The finished master model was ready for fabrication of the veneers Fig. 5: The mamelons were further accentuated with MAMELON saffron Fig. 6: The final shaping of the six veneers was performed using ENAMEL light