INSTRUCTIONS FOR USE

3 Different Color Liquid Chroma Levels for Full Contour Crown

Zirconia Finishing Instructions

Preparation for Receiving Chroma™ Color Liquids

Coloring of Full Contour Single Units

Coloring of Full Contour Bridge Cases

1. Begin your color staining process with a clean and zirconia dust free restoration.

2. Use Chroma Inhibitor for large mass units, such as pontics, to reduce the extra absorption due to its density (this extra absorbtion occurs with all coloring system on the market). This will create a chroma balance between the pontics and the abutments.

Note: In the pictures below, Chroma Inhibitor has been applied to the pontics on the bridge to the left, while the bridge on the right has none applied. Notice the increase in chroma of the pontics (#9, 10, 11) on the right. This is a typical problem inherent with current coloring systems available in the market that utilize a dipping method. The bridge on the left has a more uniform distribution of chroma throughout the restoration using the patent-pending ORIGIN Chroma Inhibitor method.

5. Once the Incisal Enhancer has been applied, dip the zirconia restoration in the Chroma Color liquid of your choice based upon the body shade you are trying to replicate. Submerge the restorations for a total time of 1 minute. Do Not Perform This Setp Under Vaccum. Shading under a vacuum will result in darker shades.

Note:

Large bridges may be dipped in a shade liquid that is one or two shades lighter for compensation of chroma intensity that may occur on the large Zirconia mass.

6. Remove the restoration from the Chroma Color Liquid using plastic tweezers and blot any excess clean bench and then place into sintering tray. Place restorations into the sintering tray so that margins are up and occlusal tables are on the beads. Some large bridges may require support in the lingual area. These bridges can rest on that support while sintering, as seen in these pictures.

7. Place your sintering tray into your sintering oven and begin the sintering process. Large Zirconia bridges require a longer sintering process to help eliminate warping during the sintering process.

Sintering Tips & Glazing Instructions

Please keep the following facts in mind when sintering:

• A longer cycle time produces slightly stronger chroma after the completion of sintering (A2 ooks more like A2.5 and A3 looks more like A3.5)
•  Zirconia restorations sintered in short cycle times (2-3 hours) look slightly weaker in chroma intensity. Some technicians prefer this since they can more easily create higher chroma on the gingival area and leave the light incisal.
•  Older, slightly contaminated zirconia sintering ovens may not produce color results as accurately as intended. Be sure to check the sintering oven conditions if you do not get the intended result. Do this by sintering uncolored bleach pieces of zirconia to visually check the effects of the sintering oven.

Glaze Firing

After the restoration has been cleaned, the Glaze ring is conducted. Most of the time, the 16 color liquids along with the Incisal Enhancer and Glaze Paste are enough to create the intended color. Depending on the situation, the Stain and Glaze ring may be conducted together or separately one after the other.

We recommend using IPS e.max Fluo Glaze Paste for glazing purpose.

Firing parameters for the ORIGIN LIVE Zirconia Glaze ring

Below is the typical example of the screen copy for the e.max Glazing Paste program adjusted for zirconia glazingPlease note:

• Do not apply vacuum during the glazing stage. This will help ensure a consistent chroma level as intended. Test results show that even the same brand of ovens, depending on their age and when the last calibration was done, may produce a slightly different level even when using color liquid and  the same zirconia. This could be solved by eliminating the vacuum process.
• With no vacuum, the glazed surface may become a little less glossy. This can be overcome, however, by using less glazing liquid when mixing with the glazing paste.
• Keeping the high temperature at 800 ˚C is also important. Lower temperatures produce higher chroma (about 1 shade stronger), and higher temperatures (850 ˚C for example) produces lower chroma (lighter shades).
• Make sure the full contour restorations and/or substructures are elevated on the ring peg and NOT directly on the tray. This will ensure correct shading at a recommended optimal temperature of 770 °C. If the restorations are directly on the tray, the resulting shades are lighter than intended.
• Chroma Level(CIE a*, b*, C)770 °C820 °CGlazing TempIn A shades particularly, non-elevated full contour crowns can have effect by not accurately depicting the redish brown color which is  an important characteristic of the A shades (the yellowish brown color is still exhibited). ORIGIN color liquids have been developed to produce the corrcect shades based on the elevated position of the full contour crowns about / inch o the glazing tray. It is known that the temperature dierence is about 10 - 20 °C degrees between the elevated and unelevated positions.
• Do not overheat the full contour restorations during the glazing cycle time. Utilizing Higher temperature than recommended (770 °C) would produce a lighter chroma level. Test results using the VITA Easyshade Compact, a spectrophotomer, conrm this result.
• Do not put too many full contour crowns on the tray at a time. The  recommended number of crowns per tray is about 5. Too may full  contour crowns will produce a weak chroma due to the lack of heat for each crown from the coil of the oven.