“The mamelons are not so remarkable. This is why I’ll only apply a slight layering there”, explains Renato the layering with BASE DENTINE A2 and NEUTRAL in a one-to-one ratio. He then adds TRANSPA DENTINE in the cervical and palatal area. “I’m closing the gap between the incisal and the cervical area with pink-translucent EFFECT ENAMEL 3 to intensify the reddish color of the basic shade A2.” Renato uses skilled brush movements while he finally covers the whole tooth with WINDOW. And this is due to a certain reason: “When I finally add WINDOW, I can see everything behind this last layer after the firing. When the shade appears too intensive, I just do a correction firing with NEUTRAL. This ceramic material is milky and not quite so translucent.” He establishes the halo effect: “With a focused layer of TRANSPA DENTINE A2, mixed with a brush tip of sandy INTERNO 02 at the palatal incisal edge, the light will be broken and reflected later on.”
Renato Carretti takes a deep look at his actual result, mentally comparing it with the patient situation. He then hands the model to the participants. They take photos with their smart phones and examine it closely from all sides. Then they pass it back to Renato. In the cervical and neck area, the same layering protocol is performed as before, followed by a decreasing chromaticity with a balanced mixture of BASE DENTINE A2 and TRANSPA DENTINE A2 towards incisal. In the incisal area, a one-to-one mixture of bluish-translucent EFFECT ENAMEL 9 and greyish-translucent EFFECT ENAMEL 11 is layered. He add whitish-translucent EFFECT ENAMEL 1 directly beneath the incisal edge.
“I use INTERNO for every crown! The internal stains are very intensive. So I use only a little bit”, Renato describes the next step. With gentle vertical brush strokes, he is carefully applying INTERNO 2 (sand) directly on the dentine body. In a next step, he is systematically adding EFFECT CHROMA 3 (light yellow) and BASE DENTINE A3 in a one-to-one mixture in the cervical area to intensify its chroma. BASE DENTINE A3 is layered in the neck area, followed by BASE DENTINE A2 towards the incisal area. A balanced mixture of BASE DENTINE A2 and NEUTRAL is established there to fade out the chromaticity. After that, INTERNO 1 (white) and INTERNO 2 (sand) are applied very gently vertically from the incisal area.
The palatal and cervical areas are layered in a first step. His trick to close the proximal in the cervical area: “I always close the interdental space from the palatal! That makes it appeal much nicer.” This is followed by BASE DENTINE A3 in the neck area. Afterwards, the dentine core is created in the determined basic shade. “In the incisal area, I layer dentine a little bit over the EFFECT LINER to mask it sufficiently”, explains Renato.
In the central area, a mixture of EFFECT LINER 2 (beige) and 4 (yellow) is applied to establish a transition to the more chromatic cervical area. Only EFFECT LINER 4 is used here. With the wash firing, a reliable connection to the following ceramic layers is established and the shade A2 of the frameworks can be controlled appropriate for the patient from inside out.