http://www.elearn.uobabylon.edu.iq http://staff.uobabylon.edu.iqDirect Aesthetic adhesive RestorationsLect. 82018-2017 الأستاذ المساعد الدكتور امير حمدي العميدي دكتوراه اختصاص طب الاسنان التجميلي و الترميمي Creating perfect direct composite restorations has been for long time a strict challenge due to many materials’ limitations impacting either shade integration or surface quality, and possibly color stability. Next to technological drawbacks, a certain complexity and lack of predictability in clinical application was inherent to the technique and made it elitist for a long time.

1. http://www.elearn.uobabylon.edu.iq
http://staff.uobabylon.edu.iq
Direct Aesthetic
adhesive Restorations
Lect. 8
2018-2017
‫الدكتور‬ ‫المساعد‬ ‫األستاذ‬
‫العميدي‬ ‫حمدي‬ ‫امير‬
‫الترميمي‬ ‫و‬ ‫التجميلي‬ ‫االسنان‬ ‫طب‬ ‫اختصاص‬ ‫دكتوراه‬

2. Creating perfect direct composite restorations has been for long time a strict
challenge due to many materials’ limitations impacting either shade integration or surface
quality, and possibly color stability. Next to technological drawbacks, a certain complexity
and lack of predictability in clinical application was inherent to the technique and made it
elitist for a long time.

3. Shading and layering concepts then progressively evolved from a simplistic, non histo-
anatomical, bilaminar technique to a multi-layering approach (3 to 4 or more layers), One of
the most achieved concepts is polychromatic layering which makes use of a variable
number of layers (basically opacious dentin, chromatic enamel and translucent/opalescent
enamel), driven by the natural tooth optical composition.

4. In parallel with this evolution, a simplified, shading system was developed with a reduced
number of layers (basically dentin & enamel layer, plus effect shades if required) known as
the natural layering concept, aiming to the same optimal esthetic integration and natural color
reproduction/emulation. The latest improvements appear all driven by the same view of
improved reliability and clinical simplification.

5. several modern composites are equal to or better than some porcelain systems,
featuring enhanced optical properties and aesthetics; it is today up to the operator, acting
as an artist and scientist, to exploit the full potential of direct bonding and correlate them
with natural tooth tissues to create better function and aesthetics without any bio-
mechanical impairment, which may prove elusive with indirect ceramic restorations. E

6. Essential to the successful use of composites for direct free-hand dentistry:
1. Knowledge of tooth anatomy.
2. Color and materials’ optical and physical properties enables dentists to achieve high-end.
3. Long lasting aesthetics.
4. Promoting tissue conservation.
5. Constraining treatment costs.
6. Depends on the operator’s understanding.
7. knowledge of their intrinsic properties and his or her ability to master related clinical protocols.
Layering of composite restorations for aesthetic purposes, started with the development of light-
curing technology and the launch of comprehensive, optically structured composite systems. The
increasing demand of patients for a better aesthetic integration of their direct restorations.

7. Composite systems can be classified according to the number of layers usually
applied together with their specific optical parameters:
1. It includes mono-layer systems.
2. Bi-laminar systems (aiming or not to emulate natural tooth anatomy and colour).
3. Tri-layer systems showing a few variations (ie.: opaque dentins – dentins – enamels or
dentins – chromatic enamels – incisal shades).
4. Hue and opacity.
5. Opalescence and fluorescence properties, as well as filler technology, will impact the final
aesthetic integration, underlining.
6. The need for a proper understanding and integration of this material’s various properties.

9. Bilaminar ‘non histo-anatomical’:
It comprised one set of body masses, usually following the Vita Classic shading
system, offering different hues (A to D) in varying chroma levels (1 to 4, according to the
shade group). Body shades exhibited an intermediate opacity (between natural dentin
and enamel values); a few ‘opaque’ and ‘incisal’ masses usually completed the overall
system. This concept was based on a monolaminar chromatic build-up of the restoration
with one incisal/translucent shade on the surface to emulate translucency and possibly
opalescence as well. Most of those composite systems were making use of the porcelain
VITA shade guide. While being a simple layering approach, the restoration aesthetic
quality was overall restrained by an oversimplified, non histoanatomical shading
approach.

10. Bilaminar ‘natural layering shading:
The use of a natural tooth as a model has been a logical evolution of direct
restorative materials, leading to an improved shading and layering concept logically
named after nature’s original model and source of inspiration. It indeed resulted from a
thorough study of true natural dentin and enamel optical properties, recognising the
variations in tissue quality related to tooth age and functional maturing. Related findings
have logically drawn the lines of this new concept Spectrophotometric measurements
(tristimulus L*a*b* color and opacity values) of natural teeth belonging to various VITA
shade.

11. the use of distinct dentine colors for a direct composite restorative system could be
avoided, providing that enamels would offer not only different value/opacity levels. Then
a new concept was born, allowing the emulation of practically all usual VITA shades by
using a proper combination of universal dentin shades of a single opacity level and
presenting a wide chroma range that extends beyond Vita Classic shades and multi-tint/
multi-translucency enamels (typical brands named after their development period: Miris
and Miris2.

12. Layering concepts evolved from a primitive approach to emulate natural dental anatomy
and optical properties to superior and reliable protocols to perfectly match tooth colour
and its many dimensions.
We normally classify composite systems in relationship to the number of
recommended layers (1, 2, 3 or more, when cavity/decay’s size involves dentin
replacement or when more in detail color characteristics are obvious) and as well as
some selected optical properties, which allow for finer differentiation among brands. Next
to the number of layers to be applied,

13. A mono-layer/single shading concept is not considered appropriate for
restorations in the demanding smile area; a single composite layer would
actually be sub-optimal in regard to both polymerisation stress management,
as well as restoration optical integration.
The only indication would be for small cavities(Class III) with no
extension toward the facial surface or small class V restoration.

16. Color mock-ups were created for each tooth according to the
achromatic and chromatic enamel techniques to verify the
accuracy of the layering techniques.
A properly trimmed silicone matrix made on a waxed-up
model is key for establishing a three dimensional blueprint for
layering composite increments.

19. The lingual shelf must be an achromatic enamel no thicker
than 0.3 mm.
Once cured, the lingual shelves of both centrals denote amber-
whitish nuances that replicate the opalescence present in natural
enamel.

20. A fine-tipped dental instrument was
used to gently create the dentin mamelons.
If correctly selected and applied, artificial
dentins of different brands should provide
naturemimicking color and opacity.

21. Translucent effect enamels were used on both
teeth to create natural opalescence and deep
translucency around and in between the mamelons.
A Vita-based chromatic enamel was applied
beyond the bevel line and contoured to create a
seamless transition between the tooth structure and
composite.

22. The chromatic enamel was faded-out toward the
incisal third and cut back along the incisal and
proximal areas to allow room for value effect
enamels.
An achromatic enamel was placed over the
lobes to promote higher opacity and color value.

23. After refinement and curing, the higher value
achromatic enamel blended in, replicating optical
properties of natural enamel lobes.
To render the proximal lobes, a microfill shade
of the same optical characteristics as those of the
hybrid composite used on both central incisors.

24. A more translucent achromatic hybrid composite
enamel was chosen for the middle lobes of both central
incisors to allow more dentin show-through.
After application and light-curing of chromatic and
achromatic enamels, both centrals depict similar optical
characteristics.

25. To establish natural facial planes, the transitional line
angles were evaluated and the facial planes worked with
finishing discs to establish the primary anatomy.
The transitional line angles were worked and the
embrasures opened until symmetry was achieved.

26. Anatomy mapping was penciled in on the centrals to
aid in attaining proper tooth morphology during finishing.
Secondary anatomy was achieved with a flame-
shaped, fine diamond bur to reduce volume and
emphasize the proximal lobes.

27. Tertiary anatomy was completed with a diamond
bur at slow speed to create arch-like horizontal lines.
Worn blunt rubber rotaries were used to eliminate
undesired texture and to impart a smoother
appearance.
Specialized chamois and cotton wheels were used
in the polishing steps to produce an enamel-like gloss.

28. Felt disc and aluminum oxide paste finalized the
polishing, bringing the restorations to a smooth and glossy
surface.
The finished restorations presented identical color
and optical characteristics and were indistinguishable
from the surrounding dentition.
The optical properties of the dentin and enamel
composites selected for the buildups replicate the
lifelike qualities of natural tooth structures.