![]() ![]() She is a general dentist and owns a practice in Glendale, AZ limited to restorative dentistry. Lee Ann Brady is passionate about dentistry, her family and making a difference. How do you troubleshoot shade matching issues in your esthetic cases? We’d love to hear your perspective in the comments!ĭr. I only begin to contemplate chroma and hue once I’ve matched the value. When I’m not happy with the look, I easily pop the composite off the tooth and re-do the process. This allows me to see if my chosen combinations match my esthetic goals and troubleshoot if the composite doesn’t disappear against the tooth. I layer the materials on the labial of the adjacent tooth in their final thicknesses and photograph the outcome. I plan what composite shades I want to combine ahead of time and work efficiently so that inevitable teeth dehydration doesn’t affect my results. My favorite method for constructing an esthetically superior value is to start the appointment with layering. A Method You Can Use for Determining Value in Composites They build on one another to create life-like reflectiveness and translucency. Because final value is a blend of the individual values of every composite layer, you must consider that each layer is not going to be representative of your intended value. The composite materials selected should match for value before chroma and chroma before hue. Precision will impact the final appearance of the tooth, so it’s important that you layer composites to get around these discrepancies. Basically, you have dentin and enamel discrepancies between composites and real teeth in addition to the discrepancies that exist between dentin and enamel. Added to these differences is the fact that dentin and enamel do not have the same amounts of reflectiveness and translucence. Layering is paramount because dentin shades and light properties differ in composites versus real dentin. This is where things get tricky and we start to juggle multiple considerations at once. ![]() Should You Shade Match for Value, Chroma, or Hue First? To achieve the best case outcome, you must rank them according to importance. The key lesson here is that these parameters must be matched separately. ‘Shade’ is simply the end result when all three parameters of value, intensity, and hue are viewed together. Hue, on the other hand, is generally deconstructed into the letters A, B, C, and D. Other esthetic qualities of dentin and enamel include ‘chroma’ and ‘hue.’ A classic numeric scale of 1 (lowest) to 4 (highest) is used to judge chroma, which simply refers to the intensity of a color. Reflective properties are especially important for shade matching because this is the true definition of ‘value.’ Value tends to be defined as the coloring on a range of white to grey, but it’s actually a measure of tooth reflectiveness. Reflectiveness and translucence combined determine the appearance of a tooth. Composites 101: Defining ‘Shades’ and Their Componentsīefore you can begin to choose which aspects of a natural ‘shade’ to preference, it’s integral to delve into the nature of these complex components. The struggle arises in understanding the various properties of natural-looking teeth and determining what visual aspects to match first. One of these areas where we can express our esthetic skills is in shade matching for composites. The true artistry of the dental profession tends to show itself in many of the more challenging requirements of cosmetic dentistry. Learning how to read a Munsell color chart.Why You Should Determine Value Before Chroma and Hue When Matching Shades for Composites.Once you understand all three attributes of color the next steps are: Now that you understand chroma, you can learn more about hue and value. Fluorescent materials may have chromas as high as 30. The chroma scale for normal reflecting materials extends beyond 20 in some cases. The scale starts at zero, for neutral colors, but there is no arbitrary end to the scale.Īs new pigments have become available, Munsell color chips of higher chroma have been made for many hues and values. The scaling of chroma is intended to be visually uniform and is very nearly so. If you started with gray and gradually added red until the vivid red color was obtained, the series of gradually changing colors would exhibit increasing chroma. Imagine mixing a vivid red paint, a little at a time, with a gray paint of the same value. Colors of low chroma are sometimes called “weak,” while those of high chroma (as shown in figure 3) are said to be “highly saturated,” “strong,” or “vivid.” Chroma is the departure degree of a color from the neutral color of the same value. ![]()
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