COLOUR MATCHING

IN OPERATIVE
DENTISTRY

DR REKHA RAMAKUMAR
PG RESIDENT
1
 CONTENTS

• Introduction
• Definition of shade matching and color
• Physics of color
• Color perception
• Color in dentistry
• Dimensions of color and color notation
systems
2
• Elements Affecting Color
• Means for the evaluation of white and
pink esthetics
• Conventional Visual Shade Matching
• Technology-Based Shade Matching
• Guidelines and Procedure
• Conclusion

3
 INTRODUCTION

• Restorative dentistry is a blend of science and art.

• The success of restorative dentistry is determined on
the basis of functional and esthetic results.
• To achieve esthetics, four basic determinants are
required in sequence:

Position, Contour, Texture and Color.

(Color: Implications in dentistry, Journal of Conservative Dentistry,

4
2010)
• Color combination not only improves esthetics but also
makes the restoration appear natural and attractive.
• The basic fundamentals of color and light,

the radiation spectrum and the optical

characteristics of the object is to be understood

before evaluating and selecting the proper color shade
for the restoration

5
 COLOUR
The quality of an object or
substance with respect to colour
reflected or transmitted by it
(GPT)

SHADE MATCHING
The determination of the colour
and other attributes of appearance
of artificial tooth or set of teeth
for a given individual (GPT)
6
 PHYSICS OF COLOUR

Spectrum
Roy G. Biv

Isaac Newton was the first to break down

the physics of color.
7
These wavelengths
are perceived by the
three types of color
receptors
called cones in the
human eye as
variations of
 red
 green
 blue light.

8
 COLOR WAVELENGTH (nm)
Red 650–800
Orange 590–649

Yellow 550–589

Green 490–539
Blue 460–489

Indigo 440–459

9
Violet 390–439
 COLOR PERCEPTION

• Light source: illuminates

the object
Object Light source
• Object: reflects, absorbs
or transmits the incident
light to the observer
• Observer: perceives the
Observer
reflected light.

(Colour in relation to dentistry, Fundamentals of colour science,

BRITISH DENTAL JOURNAL VOLUME 196 JANUARY 2004) 10
 COLOR PERCEPTION
Light is emitted from a light source

This light may reach the eye directly, or it

may either strike or pass through an object

If the light interacts The wavelengths not absorbed-

with an object, some perceived by receptor cells in
of the light is the eye and recognized by the
absorbed by the object brain as a specific color. 11
 EMISSION

Emission of light from a

source occurs through a
chemical or physical process

To create perfectly white light, a light source would

have to emit exactly the same amount of each
wavelength.

Why same object appears to be different colored

when viewed using different light sources??
12
 TRANSMISSION AND ABSORPTION

 Transmission occurs when light passes through a

transparent or translucent material

13
If the material is If the material is
completely transparent, all completely opaque, all
light is transmitted, and the light is absorbed, and the
color white is perceived. color black is perceived

Some - absorbed and others transmitted.

If this occurs, the color that is perceived
corresponds to the wavelengths that are transmitted.

For eg: If a material absorbs red wavelengths and transmits

green and blue wavelengths, cyan colour is perceived. 14
 REFLECTION AND ABSORPTION

Reflection occurs when

light rays strike a solid
object and then bounce
off of it

Depending on the molecular structure or density of the

object, certain wavelengths may be absorbed rather
than reflected.

15
16
TYPES OF REFLECTION

17
 PERCEPTION

CONES RED, GREEN, BLUE

RODS BRIGHTNESS
18
The cone cells then send
signals to the brain, which
translates the signals into
colors

Spectral Reflectance Curve

The wavelength pattern that

is perceived by the eye is
the color’s fingerprint
19
 Young-Helmholtz-Maxwell Trichromatic Theory
Of Colour Vision

• 1802 - Young proposed

Von Helmholtz (1852, 1866)
- Red, Blue and Yellow
developed Young's theory
•Proposal received
support - subsequent
Trichromacy - the ability to
colour matching
match any colour using an
experiments by
appropriate mixture of three
Grassman (1853) and
selected (primary) wavelengths.
Maxwell (1855, 1860).
20
 ADDITIVE COLOR THEORY
The additive primary colors
are red,green,blue

Combining all
three additive primary
colors in equal amounts will
produce the color white

Combining one of these additive primary colors with

equal amounts of another one results in the additive
secondary colors of cyan, magenta and yellow 21
 SUBTRACTIVE COLOR THEORY

The subtractive primary colors

are cyan,magenta,yellow

Subtractive color mixing occurs when light is reflected

off a surface or is filtered through a translucent
22
object
 COLOR IN DENTISTRY

The important concepts include that must be considered

when matching shades:

 Pigment colors

 Dimensions of color 23
PIGMENT COLORS

• The inherent hues of

an object.

• They are essentially the same as the subtractive

colors

• They are inherent in restorative materials (eg,

ceramics, composites, and acrylic resins).

24
 Pigment colors are directly Secondary pigment colors (orange,
related to the subtractive green, and violet) are formed when
primary colors, but referred as two primary pigment colors are
red, yellow, blue. added together.

25
 COMPLEMENTARY COLORS

Those that, when combined in equal proportions, will

form a dull gray that absorbs and reflects/transmits
all wavelengths in equal amounts

26
 CLINICAL SIGNIFICANCE

Used to alter the value of restorations

For eg: shade A3 contains an orange hue;
therefore, adding blue stain will create a lower value.

Primary color Complementary color

Red Green

Yellow Violet

Blue Orange

27
THE COLOR WHEEL OR COLOR CIRCLE
The most common version is a
wheel of 12 colors
 Primary colors being red,
yellow and blue.
 Three secondary colors
(green, orange and purple)
 Six tertiary colors are
created by mixing the
primary and secondary colors

Designed by Sir Isaac Newton in 1666

Basic tool for combining colors. 28
 DIMENSIONS OF COLOR

At the beginning of the 20th century, Professor Albert

H. Munsell noted that each color has a logical relationship
to all other colors

Hue
Value
Chroma
Translucency

29
Hue : Synonymous with
the term color. Used
to describe the
Value: The relative
pigments of a tooth or
darkness or lightness
dental restoration
of the hue. The
greater the total
amount of light
reflected,
Chroma: the
The higher
intensity
the value. and
or saturation
purity of the color
tone (hue) The
Translucency:
degree to which light is
transmitted rather
than absorbed or
reflected
30
31
 COLOR NOTATION SYSTEMS
YEAR SYSTEM NAME FOUNDERS
1905 Munsell system Munsell
1916 Ostwald system Ostwald
1947 OSA-UCS Optical society of
America incld Judd,
Mc Adam Nickerson,
Newhall, Wyszecki

1955 DIN system Richter

1968 Natural color system Hard and Sivik
1962 Coloroid color system Nemcsics
32
 COLOR NOTATION SYSTEMS
MUNSELL SYSTEM

At the beginning of the

20th century,
Professor Albert H.
Munsell

Disadvantage
The colors are defined
only for a two-degrees
observer
33
 OSTWALD SYSTEM

Color space invented by Wilhelm Ostwald

Based on the color–mixture plan and on the

theory that every color is specified by its
contents of:-
Full color–(C)
White–(W)
Black–(B)
In other words: C+W+B = 100%

34
 OSA-UCS SYSTEM

Color space published in 1947 developed by the Optical

Society of America’s Committee on Uniform Color Scales

The cuboctahedron structure

of the OSA-UCS color solid
can be geometrically divided
into 9 planes, known
as cleavage planes

35
 DIN
SYSTEM
DIN is the German Institute for standardization

TSD code

T for hue
S for saturation
D for darkness

36
 COLOROID COLOUR SYSTEM

Developed between 1962 and 1980 by

Prof. Antal Nemcsics

Luminosity (luminance factor, V)

Saturation (excitation purity, T)
Hue (the matching or dominant
spectral wavelength, A)

37
 NATURAL COLOUR SYSTEM

First proposed - German physiologist Ewald Hering

Current version - developed by the Swedish Colour
Centre Foundation from 1964 onwards

 Six
elementary color percepts of
human vision
 Unique hues  red,
 yellow, green, and blue

38
 CIE SYSTEM
Colour Measurement Committee of the Society of Dyes &
Colourists (CMC) and CIE (Commission Internationale
de l’Eclairage, International Commission on Illumination)
are presently used

A mapping system that uses
tristimulus (a combination of
3 color values that are close
to red/green/blue)
values,plotted on a 3D space
39
 ELEMENTS AFFECTING COLOR

There are many variables that affect how a color is

perceived. In a dental operatory during shade-
matching procedures.
 the lighting conditions
 the environment
 the viewer

play vital roles in color perception and evaluation.

40
 ILLUMINATION

It is crucial to have enough lighting to evaluate color

properly and proper quality of lighting.

Accomplished by:

 Light intensity
 Proper illuminants 41
 LIGHT INTENSITY / ILLUMINANCE

 Most common regulator of pupil diameter

A light meter can be used to assess

illuminance
The recommended light intensity is
1,000 to 2,000 lux, or 100 to
200 foot-candles.

The fovea/ visual axis

• located in the center of the retina
• highest conc of cone cells
42
 STANDARD ILLUMINANTS

Standard illuminants provide a basis for comparing

images or colors recorded under different lighting.

CIE-1931 categorized illuminants based on their effect

on color perception

43
A: Tungsten light source 2,856
K- incandescent
B: Tungsten source +liquid filter
- simulate direct sunlight -
4,874K. Rarely
C: Tungsten source+used now
liquid filter
- simulate indirect sunlight -
6,774 K. Does not contain much
D: Represents daylight
UV light
conditions.D50- 5,000K D65-
6500K Correspond to bluish
E: Theoretical light source with
daylight reflectance
equal amounts of energy at each
wavelength. Useful tool for color
theorists
F: Series of fluorescent light
sources

44
 Sources B and C are not CIE light sources anymore

Illuminant D65 is nearly identical to illuminant C

except that it is a better simulation of indirect sunlight

CLINICAL SIGNIFICANCE

When performing shade matching, clinicians should use

D50 illuminants, which provide the closest lighting
rendition to natural sunlight in respect to illumination
quality and quantity

45
CLINICAL LIGHTING CHALLENGES
 Conflicts in lighting
 Metamerism.

LIGHTING
CONFLICTS
• Light coming in through a window + fluorescent light
coming from the hallway + color-corrected lighting in
the dental operatory.
• Task of the clinician to analyze the opposing teeth and
to determine an accurate shade match. 46
 The following tips will aid in the process

Access to a
natural light
source,
shade
Dust and
matching at No natural
dirt should
1) 10 am or light- Colour temp
be cleaned
2 pm on a D65 and meter
routinely
clear, D55 should be
from
bright day illuminants, used
lighting
should be periodically
tubes and
2) ideal installed
diffusers
color
temperature
of 6,500 K
or 5,500 K
47
 METAMERISM

Two colors that appear to match under a given lighting

condition but have different spectral reflectance are
called metamers/metameric pair , and the phenomenon
is known as metamerism.

The problem of metamerism can be avoided by selecting

a shade and confirming it under different lighting
conditions, such as natural daylight and fluorescent light
(Journal of Conservative Dentistry | Oct-Dec 2010 | Vol 13 | Issue 4)
48
Effect on perceived color
if the proper lighting
quality is not used.
(a) Incandescent lighting
(2,856 K)
(b) Fluorescent lighting
(4,000 K)
(c) Color-corrected
lighting (5,500 K)

49
(a) A ceramic tooth viewed under
sunny daylight conditions (approx
5,200 K to 5,500 K, D50 illuminant)

b) The same ceramic tooth

viewed under tungsten lighting
(approx 2,856 K,illuminant A)

c) The same ceramic tooth viewed

under fluorescent lighting (approx
4,000 K, illuminant F)
50
CONTRAST EFFECTS AND OPTICAL ILLUSIONS

Contrast effects are visual phenomena that can alter the

perception of color to some extent, as well as the ability

to evaluate color in a clear, concise, and objective way.

• Hue contrast
• Value contrast
• Chroma contrast
• Areal contrast
• Spatial contrast
• Successive contrast
51
 VALUE CONTRAST

Relative lightness of an object is affected by the

lightness of the contrasting background or surroundings

Effect- The same

tooth appears
increasingly lighter as
the background
becomes darker

53
54
 CLINICAL EXAMPLE

SOLUTION

Relatively lighter shades for

patients with light-toned
Dark value of the inflamed
surrounding dentition and soft
gingiva tricks the eyes into
tissues, and vice-versa, since
perceiving the tooth shade
teeth will appear darker in
as being lighter than it
contrast with lighter tones
actually is. As a result, the
and lighter in contrast with
fabricated restoration will
darker tones
appear too dark once the
tissues have healed. 55
 HUE CONTRAST

When viewed against

different background colors,
the teeth appear to take on
the hue of the background’s
complementary color 56
 CHROMA CONTRAST

The highly chromatic tooth appears more vibrant

against the background that is low in chroma and less
vibrant against the background that closely matches the
chroma of the tooth
57
 A ceramic tooth without

influence of background chroma

effects.

Tooth against a red-orange

background. The tooth is less visible
against a background similar in chroma

Tooth against a yellow-orange

background. The tooth is even less

visible against a background that
very closely approximates its chroma
58
 AREAL CONTRAST

The size of the object can also influence visual color

perception

A larger image appears

lighter because the surface
area is greater and reflects
more light back to the
observer

59
 SPATIAL CONTRAST
This phenomenon is frequently seen with rotated and
overlapped teeth

When determining the

shade of a restoration,
the clinician should
maintain a distance
from the patient’s
mouth in order to get a
consistent reading.
60
 SUCCESSIVE CONTRAST

• Occurs when one color is viewed following the

observation of another color

A positive (similar) or
negative (complementary)
afterimage of the colored
tooth will be seen in the
blank tooth after brief or
long visual contact

61
An exceedingly bright object With dental photography, the use of
against a dark background or a black background increases impact,
significantly differently colored but it will cause glare.
objects cause embarrassment (IOSR Journal of Dental and Medical
Sciences (IOSR-JDMS) , Volume 13, Issue 9
and can interfere with
Sep. 2014 )
perception. This interference is
called glare

GLARE
The illumination of the teeth
should not be significantly
Use overhead lamps with correlated
brighter than the ambient
color temperatures (CCT) ranging
environment. (Preston et al)
between 5000–5900 K (Badea et al)
The “task to ambient light
ratio” should not exceed 3:1 62
 VIEWER-ASSOCIATED EFFECTS

Color deficiency
Age
Fatigue
Light and dark adaptation
Nutrition
Emotions
Medication-induced color vision disturbances
Binocular difference

63
OTHER APPEARANCE ATTRIBUTES AND
COLOR PERCEPTION

Other optical properties (appearance attributes) of

the enamel and dentin

translucency/opacity
fluorescence
opalescence
 gloss

64
 TRANSLUCENCY

 Not a color dimension

The incisal edges of natural teeth are translucent, and

accurate translucency determination is vital to a
restoration’s esthetic success

65
 The relative translucency of the tooth to be matched
and the material selected must coincide.

Material Translucency

Leucite-reinforced glass-ceramics High to low

Lithium-disilicate glass-ceramics High to low

Zirconia-reinforced lithium silicate glass- Medium to high

ceramics
Slip-cast alumina ceramics Low to none

Feldspathic ceramics High

Synthetic low-fusing quartz glass- High 66

 FLUORESCENCE
Teeth (more specifically, dentin) are fluorescent because
they emit visible light when exposed to UV light

Ultraviolet light Greater

Natural extracted interacts with the cells fluorescence of the

teeth under natural of the dentinal layer, dentinal

daylight conditions which emit reflected layer compared with

light. the enamel layer 67
 OPALESCENCE

•The ability of a translucent material to appear bluish in

reflected light and reddish-orange in transmitted light

Tyndall effect- opalescence of natural teeth

Transmission of the longer

orange wavelengths of
light through the dentinal
and enamel layers

68
 IN VITRO EXAMPLES OF LIGHT EFFECTS

NATURAL LIGHT FLUORESCENCE OPALESCENCE -BLUE

 DEPTH OF VITALITY IS CONVEYED

ORANGE
TRANSLUCENCY

69
 GLOSS

 Gloss meters

 Inversely correlated to surface roughness

Esthetics Depends on
Longevity angle of incident light
Color stability surface roughness
Reduced plaque accumulation refractive index
 OPTICAL PROPERTIES OF TEETH: WHITE

 Predominantly light ,white-

yellowish and slightly reddish

 Small and curved and exhibit

color transitions

Transitions originate from

differences in thickness of
enamel and dentin

Value, Chroma, Hue- 74.5, 21.0, 92.3 71

Square-shaped morphology of an
adolescent’s teeth

When attempting to
create a natural-looking
restoration, it is
important to note that
tooth structure varies
and changes with age.
More tapered and triangular
shape of an older patient’s teeth

72
OPTICAL PROPERTIES OF GINGIVA: PINK

73
 MEANS FOR THE EVALUATION OF WHITE AND PINK
ESTHETICS

PES
WES
Mesial papilla
General tooth form
Distal papilla
Outline and volume of the
Level of soft tissue
clinical crown
margin
Colour
Soft tissue contour
Surface texture
Alveolar process
Translucency &
Soft tissue colour
characterization 74
Soft tissue texture
 CONVENTIONAL VISUAL SHADE
MATCHING

TYPES OF SHADE GUIDE

- Vita Classic (Vita Zahnfabrik, Bad Sackingen, Germany)

- Vitapan 3D-Master (Vita Zahnfabrik, Bad Sackingen,
Germany)
- Chromascop (Ivoclar - Vivadent, Schaan, Liechtenstein)
- Custom or specific chroma and value guides

75
 VITA Classical A1-D4

 Gold standard for shade

matching in dentistry
 Introduced in 1956.
 Arranged into groups
alphabetically

• A = Reddish-brown
• B = Reddish-yellow
• C = Grayish
• D = Reddish-gray
76
 • The chroma and value for each hue group are
communicated by a system of numbers

• Higher the number, the darker and more chromatic

the tab

• Therefore, 1 is the least chromatic with the

highest value, while 4 is the most chromatic with
the lowest value

77
 VITA 3D-MASTER

There are three VITA 3D-Master shade guides:

 Toothguide,
 Linearguide, and
 Bleachedguide.

The 3D-Master tabs are marked using a number-

letter-number combination
Eg – 3M3

78
 VITA Toothguide 3D-Master

• Group 0 = 3 tabs (bleached shades, the lightest)

• Group 1 = 2 tabs
• Group 2 = 7 tabs
• Group 3 = 7 tabs
• Group 4 = 7 tabs
• Group 5 = 3 tabs(the darkest)

L (left) = Yellowish 1 = Low chroma

M (middle) = Middle hue 2 = Medium chroma
R (right) = Reddish 3 = High chroma 79
 The manufacturer-recommended protocol consists of
Three steps

Value determination: The Chroma determination:

user selects the value level The user selects
by selecting a group (from 0 the color sample from the
to 5, with 0 being the M group with the chroma
lightest [high value] and 5 level (from 1 to 3, with 1
being the darkest [low value] being the least chromatic

Hue determination: The clinician checks whether the

natural tooth displays a more yellowish (L) or more
reddish (R) shade 80
The best-matching shade tab is determined, and the
information is recorded in the color communication form
81
 VITA Linearguide 3D-Master

Same shade tabs as the

toothguide but a different
design

Two steps:

1. Value selection: A dark-gray holder containing only

six middle tabs (0M2 to 5M2) is used.
The small number of tabs with large color differences
and the linear tab arrangement simplify group selection
82
2. Chroma and hue
selection: In the final
selection, a light-gray
holder with the group
corresponding to the
initial value selection in
step 1 is used for the
final selection of chroma
and hue.

83
 VITA Bleached guide 3D-Master

Bleached guide is actually a color scale , which from

right to left accurately mimics tooth color changes
upon bleaching
VALUE AND HUE INCREASE,WHILE CHROMA
DECREASES.

It is a cross section of 29 shades of

Linearguide/Toothguide 3D-Master, from the lightest
(0M1) to the darkest tab (5M3).
84
Bleachedguide exhibits a wider color range and more
consistent color distribution than the
VITA classical A1-D4 and color-ordered Trubyte
Bioform (Dentsply).
85
 IVOCLAR CHROMASCOP SYSTEM

Chromascop differs in the use of a

three-digit numbering system
and the use of five groups of
four tabs, as follows
• Group 100 = White
• Group 200 = Yellow
• Group 300 = Orange
• Group 400 = Gray
• Group 500 = Brown

86
87
 The tab markings of other
proprietary shade guides are
sometimes related to color
or other optical properties

Tabs are typically tooth shaped but can have different

shapes, and they are used for color matching of intact teeth,
stump shades, or gingiva

88
 GINGIVAL SHADE GUIDES

1 Eclipse [Dentsply]
2 Lucitone 199
[Dentsply]
3 IPS d.SIGN
[Ivoclar Vivadent]
4 IPS e.max [Ivoclar
Vivadent]
5 VITA VM.

89
 TECHNOLOGY- BASED SHADE MATCHING
The earliest color-measuring device designed specically
for clinical dental use was a filter colorimeter.

The Chromascan (Sterngold) was introduced in the early

1980s -poor design and accuracy.

In the late 1980s and early 1990s- color measurement

and reproduction using colorimeters

In the late 1990s, Shofu ShadeEye Chroma Meter was

introduced and evaluated. 90
 COLOR-MEASURING INSTRUMENTS

Spectrophotometers

Spectroradiometers

Colorimeters

The first two types are the most reliable, accurate,

and useful instruments for color matching in general
and in dentistry.

91
 SPECTROPHOTOMETERS

It measures and records the amount of visible radiant

energy for any color within the visible spectrum

Easyshade V- 5th generation

contact-type for shade
matching and communication by
VITA

Easyshade V has an LED light

source and is cordless, battery
operated, small, and portable
92
 It averages color information of a 5-mm area in a
single measurement

Results are converted into corresponding tabs of VITA

classical A1-D4, VITA Toothguide/Linearguide 3D-
Master, and VITA Bleachedguide 3D-Master shade
guides

A Bluetooth interface enables communication and color

analysis through the VITA Assist PC software as well
as the smartphone app VITA mobileAssist 93
94
The SpectroShade Micro is a
complete–tooth surface measurement
spectrophotometer. Upon calibration,
select “Start Live” to proceed with
measurements.

95
 SPECTRORADIOMETER
Enable noncontact in vivo and in vitro measurements.

COLORIMETER
Frequently used in clinical
dentistry and dental research
both in vivo and in vitro
Presently available dental
colorimeter is ShadeStar, a
wireless, battery powered,
portable device with integrated
96
software.
 TECHNOLOGY-BASED SHADE-MATCHING
WORKFLOW
When it comes to color and appearance of dental
restorations, the technology-based process includes:

 Analysis

 Communication

 Interpretation

 Fabrication

 Verification 97
JOURNAL

Comparison of accuracies of an intraoral

spectrophotometer and conventional visual
method for shade matching using two shade
guide systems

(The Journal of Indian Prosthodontic Society,

2016,Volume : 16, Issue : 4,Page : 352-358 )

99
Objectives: This in vitro study compared the shade
matching abilities of an intraoral spectrophotometer
and the conventional visual method using two shade
guides. 

Methods: Two shade guides

VITAPAN Classical and VITAPAN 3D Master with
other full sets of the respective shade guides. Was
evaluated by conventional visual method The
spectrophotometric shade matching using an intraoral
spectrophotometer (VITA Easyshade)
100
 CONCLUSION
• Revealed that there were significant differences with the
visual method producing more accurate results than the
spectrophotometric method
• The spectrophotometer showed far better interrater
agreement scores irrespective of the shade guide used
• In the spectrophotometric method, VITAPAN Classical
shade guide was more accurate (25%) than the VITAPAN 3D
Master shade guide
• In the visual method of shade selection, the VITAPAN 3D
Master shade guide proved to be better than the VITAPAN
Classical shade guide 101
 SHADE SELECTION GUIDELINES
1. Patient wearing bright clothing, drape with a neutral colored cover
2. Have patient remove lipstick or other make-up.
3. Clean the teeth and remove all stains and debris.
4. Have patient's mouth at dentist's eye level.
5. Determine shade at the beginning of the appointment
6. Shade comparisons should be performed at five-second intervals.
7. Obtain value levels by squinting.
8. Compare shade under varying conditions
9. Use the canine as a reference for shade
10. Unable to precisely match shade-shade of lower chroma and
higher value.
11. Grind off the necks of the shade tabs 102
 PROCEDURE FOR SHADE SELECTION
HUE
• First step
• Cervical part

CHROMA
Pizzamiglio’s
• Less than 5sec “ The Four
• Easier step Hues
Technique”
VALUE
• Last step
• Squinting

A color selection technique, Journal of Prosthetic Dentistry, November

1991 103
 SHADE MAPPING
Tooth is divided into :
3 regions
9 segments

Each region is matched independently

Further characterizations include:
 craze lines
 hypocalcifications
 proximal discolourations
 translucency

104
 CONCLUSION
Shade determination is rapidly evolving toward a more
objective standard.

Determining an accurate shade match is one of the

most critically important procedures in aesthetic
restorative dentistry, and has always been one of the
greatest challenges in clinical dentistry.

The development of new shade-matching systems and

Technology-based systems may herald a major advance
105
in clinical practice.
106