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State of the Art

ESTHETIC WAX-UP
Tyler P. Lasseigne, DDS, CDT1

imicking the tooths 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.

1
Private Practice, Baton Rouge, Louisiana; Assistant Clinical Professor, Department of Prosthodontics, LSU School of Dentistry, New
Orleans, Louisiana, USA.

Correspondence to: Dr Tyler P. Lasseigne, Esthetic Associates,

LLC, 16645 Highland Road, Suite J, Baton Rouge, LA 70810, USA.
Email: info@estheticassociates.com
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Figs 1 and 2 Preoperative view.

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Figs 3 and 4 Study cast prepared for the esthetic wax-up. The teeth were reduced to provide enough space
for the wax.

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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.

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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 mamelons, initial surface texture, and body color. The deep dentin layer is applied using white transparent wax at low temperature.

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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 cervical 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.

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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.

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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

18

19

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.

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Enamel Layering
Incisal Translucent Layer

20

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
units highest temperature during the halo effect application.

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Sculpting
Facial Contour

Fig 22 Cervical third contouring is initiated using a Mini Discoid titanium nitridecoated carving instrument (Kerr Dental
Laboratory Products, West Orange, CA, USA).

Figs 23 and 24 Midfacial contouring is performed using

a 12 Hollenback Regular titanium nitridecoated carving
instrument (Kerr Dental Laboratory Products).

Figs 25 and 26 Mesial and distal development depressions

are contoured using a 12 Hollenback.

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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 12 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
PKT3.

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S u r f a c e Te x t u r e

Fig 32 Developmental ridge formation using mediumtempered wax.

Fig 33 Sculpting vertical grooves using a 12 Hollenback.

Fig 34 Sculpting horizontal grooves using the neck of a

Mini Discoid.

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Surface Luster

Fig 35 Final buffing using cotton swab with soap.

Fig 36 Final surface luster

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Esthetic Wax-up

Figs 37 to 39 Final esthetic wax-up.

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Final Ceramics

Figs 40 and 41 Ceramics by Hiro Tokutomi, MDT.

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