# Green State Characterization for All on X Prosthetics
## Overview
[3] Alright. So today, what we're gonna do is we're gonna go through just a quick kind of overview of green state characterization for Olenex prosthetics for the anterior six. So we're talking about canine to canine. If you have a mill that does 90 degree or face milling and you have a good design, usually, you'll be doing very minimal green state characterization.
[27] This is a segment that we use in our class, and so it's not milled at high detail face mill, but it is milled without sprues on the facial part, so we're not having to remove sprues and do any smoothing there. But we'll go through the principles for characterizing the teeth and the tissue to get something out of your centering cycle that will be really easy to characterize and make very realistic.
## Characterization Process
[48] So I always like to take a pencil, usually one with a sharp point, and draw out the plan that I'm gonna use for my characterization. It helps to keep me organized and moving through quickly. And especially when I'm characterizing the centrals, it helps me to make sure that I have good symmetry between eight and nine, which we know is really critical for a high quality smile result.
[72] So the first thing let's start with the teeth, and then we'll go on to the tissue. So the first thing I'm gonna do is I'm gonna use the edge of my pencil and I'm going to mark the line angles on my central incisors. And so we have a good design here. This looks really nice.
[100] So we don't need to do a lot of characterization on the teeth other than kind of cleaning up some of the milling. We don't need to do a lot of cleaning up, but we do need to go in and clean up some of the burr chatter from the milling unit. The centrals are milled nice and symmetrical. And so this should, in real time, take you five minutes or so.
[130] So what you're looking for here, the line angle on the central is the mesial one is kind of just wide, almost triangular, but kind of flattening out as you get towards the cervical. The distal one is kinda more rounded along the incisal edge and then getting up to the point of the gingival margin, you know, with kind of an oval shape.
[154] The roots and the line angles for a lateral incisor are gonna be triangular shaped, so they're gonna kinda come right up to a point right towards the cervical. And then the canine is almost like a really wide sigmoid shape. So let's get both sides.
[195] The next thing we need to do is draw on our primary anatomy or our developmental depressions. And so we have two on a central incisor, one on the mesial, one on the distal, with the one on the mesial being both shallower and narrower than the one on the distal. This just helps to emphasize the mamilons once we have these characterized.
[246] And these do kind of just fade off into the line angles. We're going to have one on our lateral incisors. And there's not really a developmental depression that we're gonna be accentuating on the canine, but what I do like to do is just kinda accentuate that central lobe. I'm making a little triangular depression right around it.
[282] And I also like to just mark and flatten on the distal part of the canine. Alright. So the next thing I'm gonna do is start to make some of my tertiary anatomy. And I'm just really kind of drawing some lines to remind myself. These are like our imbrication lines, and you can do like little pocket as well.
[313] It just helps to give the tooth the illusion of kind of three-dimensional texture. For this, mill, you see we definitely got some areas where the papillas didn't mill great. So I'm gonna actually accentuate those, just by drawing them in and ensuring that I have the right shape there.
[342] If you're doing 90 degree milling, that should really not be an issue. And so that's really all that I'm drawing on the teeth as far as what I need to use for characterization. Now we're gonna come in and just accentuate some of the root or the tissue.
## Accentuating the Roots and Tissue
[364] And so what I'm doing here is really just accentuating what's milled. And so we know that the root shapes of a central incisor are kind of conical shaped, so I'm just drawing that in. We have a little frenum here that was part of this design, so we're going to make sure to go in and really accentuate that.
[395] Also, for the laterals, we know these roots are more triangular shaped, and so our green state characterization here is just going to emphasize that triangular shape. And so we should have the apex of that triangle, for the root along the long axis of the tooth, the axial inclination.
[417] And so for the canines here, our segment doesn't really show the full extent of the canine imminence, which most of them usually don't when you're doing all Nx unless you have a really big FP3. But it's gonna be a little rounded, but much more kind of prominent with that canine imminence.
[437] So that's really all I'm gonna draw on this segment so that I have my plan for what I'm gonna do with my green state characterization. So now I'm gonna get my actual handpiece and my burrs and start to do the work.
## Using the Handpiece and Burrs
[449] So I'm gonna have a straight handpiece, and this is a, NSK lab motor. And so the first tool that I like to use is from our ceramic finishing kit that you can get from Comet, and it's this kind of chamfer shaped diamond. And so this is what I'm gonna use to start to draw in those developmental depressions. That's where I'm gonna start.
[483] And so I'm using this light touch here. And so we want to be deepest towards the inside of the ledge and then kind of fading off as we get towards the mid body and the cervical over the cheek itself. And so these shouldn't be, like, super pronounced. You you just want, like, gradual texture here and just kinda gradually fading off.
[518] And we'll have a step at the end that if if you're doing this with me and you feel like you just got really too much, too deep, how we can kinda clean some of that up. And so now I'm gonna move on to the other central incisor.
[581] Now let's move on to the lateral. And so I'm using the bur really at about a 45 degree angle here, 45 to 60, not going straight in. It just helps to make the edges of these depressions a little bit more gradual and not super distinct and pronounced.
[613] And then let's move on to our k nine. Alright. And so now I'm gonna switch to this flame shaped diamond. And so this is what we're gonna use for the line angles. And so here, the key is it depends on what you're really trying to accomplish with your green state characterization because we're controlling the visual width of the tooth.
[662] And so we marked the line angle that was, pronounced from our design and from the milling. And so if we're trying to accentuate that, really what we're doing is we're reducing behind the line angle and then fading off into the pencil mark. If you wanted to change the location, you could do that here as well where, you know, maybe things milled out looking a little bit too wide and you wanna flatten that or make it appear more narrower.
[690] Then you would move your line angle in towards the middle of the tooth, and then you would reduce behind that to change that visual width of the tooth. But I like this design. I like the width of the centrals, so I'm really just accentuating at this point.
[707] And so same thing, about a 45 degree angle here. And so, sometimes it can help to run your burrs a little bit faster when you're doing this part, because it keeps you from getting caught and nicking up your zirconia.
[765] Alright. So now on the distal, we're also starting to, you know, just accentuate that. There's a little bit of milling irregular, these are right here that I'm gonna smooth out also while I'm doing this. We'll go in and just control some of that and smooth it along the gingival margin.
[794] And so you can see this line angle is starting to really be a lot more pronounced where on this number nine, it milled out pretty well, but on this number eight, it really didn't that well. Let's get back into this number eight or this number nine on the mesial.
[822] And so now let's work on the mesial of number eight. And so what we're trying to do is we're trying to make number eight and number nine be perfectly symmetrical. And so now let's start to work on this mesial of number eight.
[859] Alright. Let's blow some of this dust off and check. Alright, now let's move on to the distal of number nine. And this one milled decently here, so we're not gonna do a lot of work here, we're just kind of accentuating.
[892] I'm gonna clean this number eight up just a touch. Just working on our laterals now and, you know, we're doing the same thing on the centrals. Just accentuating the line angles, those little pencil marks that we made, we're reducing behind those.
[991] Alright. Let's see where we start. So I think now we're at a good point to start cleaning up around the gingival margins. So I'm gonna switch back to the chamfer diamond for this part.
[1006] And so we're also gonna be kind of at a 45 degree angle here and really just developing that rounded, actually probably a little bit closer to 60, I guess, anatomy of the gingival collar there. There are definitely some areas here where we're gonna have to clean up.
[1038] Where we got some areas that didn't mill that great. Alright. Let's blow some air and check this out. So things are starting to look pretty cleaned up and nice to me. We got this little area here that we need to deal with. It's gonna be a little tough because this is a big, like, divot here.
[1125] But we'll probably deal with that by how we do the actual root imminence, characterization, and then come back reemphasizing the gingival margin here. The last thing before I get into doing the tissue characterization is let's jump back and do the canines.
## Final Adjustments
[1145] And there's a couple things here. Right? First thing we're gonna do is adjust these line angles. Cleaning this up just a little bit from where it got adjusted a little bit when we were working on the gingival margin.
[1183] Alright. So adjusting those line angles on both sides. Alright. The other thing that we're gonna do is we're gonna flatten off this distal part of the canine here. And all we're really doing here is we're don't blow out your line angle, but we're just trying to emphasize that central lobe so that in the smile you don't start to see the distal part of the canine.
[1247] Alright. And so let's go in and make our imbrication lines. And so for this, you just wanna be irregular. You don't wanna, like, make super deep straight lines here. We're just really emphasizing, you know kind of texturing towards the cervical and we know that this is not regular straight lines on teeth so I'm usually just gently adding some texturing here like that.
[1283] And so now I'm gonna switch back to that chamfer diamond, and we're gonna do the same thing with the root imminences. First thing we're gonna do is kinda outline them. And so this area where I've got this little divot, I'm just gonna kinda drag down into it.
[1333] Now, let's move over to the other side and do the same thing. And so, just like on the teeth, like these, we don't want stuff that's like super sharp angles. We want stuff that kind of simulates anatomy, kind of sloping, smooth transitions.
[1367] And so this is where it can help like drawing on and really having a template to go off of. Otherwise, you're in here just kinda working, and next thing you know, you've got something that doesn't look great. And once the zirconia is gone, you can't put it back, obviously.
[1424] And so we're starting to look decent here. I'm just gonna emphasize these root imminences a little bit more by I actually might switch to my barrel diamond for this part for going in and kinda smoothing out. And deepening the shapes a little bit, but you know at the same time smoothing back behind what we did earlier so it's not super sharp.
[1484] Just a nice transition. Now we're really starting to kinda make a mess. And so this one tip is, you know, you definitely wanna be somewhere where you don't mind getting dust when you're doing this because it definitely makes a mess.
[1517] It's a little too pronounced on this k nine here, so I'm gonna actually just smooth that down some. That probably would have been controlled in the design on a normal case, but just looked a little bit too bulbous there so I'm just smoothing that back.
[1546] Alright. So now we're starting to look a little bit more finished here. Let's blow again. This is the part where we gotta work a little bit where we had that divot from a burr. That's starting to look close as far as what we do on the tissue, so I'm gonna switch back to that chamfer diamond and work on this papilla here a little bit.
[1632] Alright, so that looks pretty decent. So let's switch over to this serrated diamond disc. We're gonna use this for our embrasures and sharpening the line angles a little bit more, and then we'll come back and kind of blend everything, and then we'll be done.
[1654] So with with these discs, it is very critical to have a very steady hand, because you can very easily screw up the embrasure, and then you're pretty much done at that point. It's very hard to fix. So I usually like to do really slow.
[1672] So I'm probably running it about I'm about halfway down on this motor and just really gradually here this is a little tough for me because mine's fixed on the table normally I'd have it in my hand so getting the disc at exactly the right angle is a little tough.
[1707] But you can kinda see the speed that I'm running this at. Just very slow and gradual. Other thing we can come back in and do here is sharpen through the line angles a little. I do like to use a hand tool sometimes to do this. This is like a little, interproximal saw, just end cutting only.
[1758] It gives you a little bit more control, obviously. And so we know we we want the embrasures to deepen as we move distal. This lateral one needs to be deepened a little bit. And this one does as well.
[1826] So let's go in and sharpen this with our hand tool. You have to be careful with the hand tool though. If it gets caught, don't force it because it'll just break off the incisal edge, and then you're kinda done at that point.
[1848] And so I'm just having a look, and I might wanna come back in and just sharpen these areas a little bit with this flame shaped diamond. And I'm just sharpening into where I made those embracers.
[1901] The other thing that you can do is use this is a little bird beak l n l m instrument. You can come in and, by hand sharpen into the embracers that way. And so now we're really starting to get to the point where I'm pretty happy with this.
[1925] And so the last thing that I'm gonna do, and then maybe go back and check everything is use this kinda rubber wheel that is part of our three d printing kit, and I'm gonna just use it to blend everything. Be careful with your imbrication lines when you're doing this, because you can essentially just wipe them off very quick, but what I'm doing is I'm just coming into these depressions, and blending.
[1999] Then we're gonna do the same thing down here on our tissue characterization. For this part, would definitely recommend wearing a mask. Because it makes quite a bit of dust. So we're just kind of controlling the surface texture here, fading those roots out, getting everything smooth.
[2099] I'm just gonna flatten this. I little over accentuated that lateral incisor. So I'm just flattening that off. And I'm gonna do a little bit of work right here where we have that divot before we get finished up.
[2126] Just coming in and reemphasizing the gingival margin through here, especially on the central incisor. And I'm just switching back and forth between the chamfer and the pointed or the flame shaped diamond here. It's just gonna allow me to go in and smooth that one area off without ruining the papilla development here.
[2178] And so then let's use our chamfer diamond and see if we can just get this fixed. And so I'm just pushing away from that area, and then we'll come back and smooth it, and then we should be good.
[2225] And so, usually, you wouldn't have this these type of things to really deal with that much in your milled segments. So I'm not completely sure what happened with this one, but, obviously, that's something we need to fix.
[2241] And so then let's come back in and just blend that one area. And if there's a little bit of a divot there, I'm not super concerned we can address that in our characterization or glazing phase. But start to look pretty good to me.
[2257] Maybe let's make it a little bit more symmetrical on the other side. By deepening this area just a little bit. Alright. I'm gonna just smooth those bar marks there.
[2313] And so now we are all done with this. So now this is gonna go into center overnight. I like to, for hybrid segments, use a really long cycle. It's almost thirteen hours. That helps with a couple things. One, it helps with any distortions, and minimizing misfits because the prosthetic is centering over a long, long period of time. We don't have really fast ramps or cool downs.
[2339] The other thing is it helps a lot with the translucency in making the segment look really true to shade and realistic so that we can very easily characterize it and make it look really great for our patients. So we're gonna stick this into center overnight, and then the next video, we'll go through characterizing.
