State of the Art ESTHETIC WAX-UP Tyler P. Lasseigne, DDS, CDT
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imicking the tooth’s natural morphology and internal characterization is challenging. It becomes even more difficult when color is added to the equation. An accurate esthetic wax-up not only serves as a diagnostic tool, but it can also be used to inform and even impress the patient.
Private Practice, Baton Rouge, Louisiana; Assistant Clinical Professor, Department of Prosthodontics, LSU School of Dentistry, New Orleans, Louisiana, USA. 1
Figs 1 and 2 Preoperative view.
Figs 3 and 4 Study cast prepared for the esthetic wax-up. The teeth were reduced to provide enough space
for the wax.
Internal Layering Initial Body Layer
Figs 5 to 7 The initial body layer is the first wax layer applied (Creation Wax Set, Yeti Dental, Engen, Germany). This layer
ensures good adhesion to the cast, establishes the long axis, and begins the morphological shaping of the tooth. The initial body layer is applied using white transparent wax at mid-temperature.
Internal Layering Deep Dentin Layer
Figs 8 to 10 The second wax layer (Creation Wax Set, Yeti Dental) is the deep dentin layer, which incorporates the mamel-
ons, initial surface texture, and body color. The deep dentin layer is applied using white transparent wax at low temperature.
Internal Layering Superficial Dentin Layer
Figs 11 to 13 The superficial dentin layer is applied using light dentin wax (Creation Wax Set, Yeti Dental) to integrate cer-
vical and incisal colors. The same color of wax should be used in the cervical portion to the incisal third, but it should be distributed in different areas.
Internal Layering Superficial Dentin Layer
Figs 14 to 16 The mamelon structure should be sculpted differently between the central incisors. Note that the silhouette
of the central incisors needs to be identical, with exception of the incisal edge. All of the techniques described herein add the distinctive character that is found in natural tooth structure.
Enamel Layering Enamel Layer
Fig 17 The enamel layer is created using clear enamel wax (Creation Wax Set, Yeti Dental) at low
temperature. Medium-tempered clear wax is applied to the outer portion of the tooth to lightly blend with the dentin core wax. It is important to add only 0.5 mm or less of thickness in order not to make the tooth too grayish and dull. The wax temperature is dependent on the enamel thickness.
Incisal Translucent Layer
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Figs 18 to 20 The incisal translucent layer is created using clear enamel wax (Creation Wax Set, Yeti Dental) at very low
temperature. As the temperature increases, the degree of translucency between the developmental prominences decreases due to the blending of wax.
Enamel Layering Incisal Translucent Layer
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Halo Effect
Fig 21 The halo effect is created using white transparent wax (Creation Wax Set, Yeti Dental). It is best to use the wax
unit’s highest temperature during the halo effect application.
Sculpting Facial Contour
Fig 22 Cervical third contouring is initiated using a Mini Dis-
coid titanium nitride–coated carving instrument (Kerr Dental Laboratory Products, West Orange, CA, USA).
Figs 23 and 24 Midfacial contouring is performed using
a 1 ⁄ 2 Hollenback Regular titanium nitride–coated carving instrument (Kerr Dental Laboratory Products).
Figs 25 and 26 Mesial and distal development depressions
Sculpting Line Angles
Fig 27 Step 1: Interproximal contact is defined by carving
the wax with a PKT3 carving instrument.
Fig 28 Step 2: Contouring of mesial marginal ridge sculpting
with a 1 ⁄ 2 Hollenback. Fig 29 Step 3: Mesial line angle is defined by beveling with a
PKT3.
Incisal Edge
Fig 30 Contouring of labioincisal edge by beveling with a
PKT3. Fig 31 Contouring of linguoincisal edge by beveling with a
S u r fa c e Te x t ur e
Fig 32 Developmental ridge formation using medium-
tempered wax.
Fig 33 Sculpting vertical grooves using a 1 ⁄ 2 Hollenback.
Fig 34 Sculpting horizontal grooves using the neck of a
Surface Luster
Fig 35 Final buffing using cotton swab with soap.
Fig 36 Final surface luster
Esthetic Wax-up
Figs 37 to 39 Final esthetic wax-up.
Final Ceramics
Figs 40 and 41 Ceramics by Hiro Tokutomi, MDT.
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