ABSTRACT
Objetivo: Caracterizar e diferenciar as técnicas de escultura dental, bem como descrever as etapas da ceroplastia de dentes. Revisão Bibliográfica: As principais técnicas encontradas foram: Técnica de escultura regressiva de dentes isolados em cera; técnica progressiva; técnica de ceroplastia em dentes articulados no manequim; enceramento progressivo em molde de gesso; enceramento progressivo com a oclusão dente-a-dente, cúspide-fossa; técnica de escultura de dentes articulados (restaurações unitárias); técnica de escultura de dentes articulados (restaurações múltiplas). No geral, o material e instrumental utilizados nas práticas de escultura são definidos pelo corpo docente do componente curricular Escultura Dental, e alguns desses diferem de uma universidade para outra, assim como o passo a passo seguido. Para o alcance da completa e correta escultura, faz-se necessário seguir a sequência evitando ultrapassar uma etapa sem antes haver cumprido com plena observância dos detalhes o passo imediatamente anterior. Considerações finais: Não houve uma técnica de escultura dental padrão a ser aplicada, entretanto acredita-se que a técnica de ceroplastia em dentes articulados no manequim destaca-se na prática laboratorial, pois os dentes a serem esculpidos precisaram respeitar o tamanho, a relação de oclusão, a relação interdental e o alinhamento, de forma a simular um procedimento clínico.
Objective: To characterize and differentiate dental carving techniques, as well as describe the stages of wax-up of teeth. Bibliographic Review: The main techniques found were: Technique of regressive sculpture of isolated teeth in wax; progressive technique; wax-up technique on articulated teeth on the dummy; progressive waxing in plaster mold; progressive waxing with tooth-to-tooth, cusp-fossa occlusion; articulated teeth sculpting technique (single restorations); articulated teeth sculpting technique (multiple restorations). In general, the material and instruments used in sculpting practices are defined by the faculty of the Dental Sculpture curricular component, and some of these differ from one university to another, as well as the step by step followed. In order to achieve a complete and correct sculpture, it is necessary to follow the sequence, avoiding going beyond a stage without first having completed the immediately preceding step in full observance of the details. Final considerations: There was no standard dental sculpting technique to be applied, however, it is believed that the wax-up technique on articulated teeth on the dummy stands out in laboratory practice, as the teeth to be sculpted needed to respect the size, the relationship of occlusion, interdental relationship and alignment, in order to simulate a clinical procedure.
Objetivo: Caracterizar y diferenciar las técnicas de tallado dental, así como describir las etapas del encerado de los dientes. Revisión Bibliográfica: Las principales técnicas encontradas fueron: Técnica de escultura regresiva de dientes aislados en cera; técnica progresiva; técnica de encerado en dientes articulados en el maniquí; encerado progresivo en molde de yeso; encerado progresivo con oclusión cúspide-fosa diente a diente; técnica de esculpido de dientes articulados (restauraciones individuales); Técnica de esculpido de dientes articulados (restauraciones múltiples). En general, los materiales e instrumentos utilizados en las prácticas de escultura son definidos por la facultad del componente curricular de Escultura Dental, y algunos de estos difieren de una universidad a otra, así como el paso a paso seguido. Para lograr una escultura completa y correcta, es necesario seguir la secuencia, evitando pasar de una etapa sin haber completado antes el paso inmediatamente anterior con total atención a los detalles. Consideraciones finales: No existía una técnica de esculpido dental estándar a aplicar, sin embargo, se cree que la técnica de encerado sobre dientes articulados sobre el maniquí se destaca en la práctica de laboratorio, ya que los dientes a esculpir debían respetar el tamaño, la relación de oclusión, relación interdental y alineación, con el fin de simular un procedimiento clínico. PALABRAS CLAVE: Corona del Diente; Escultura; Anatomía Artística.
ABSTRACT
In 1951, in the midst of the Korean War, artist Lee Quede produced anatomical drawings to teach artistic anatomy to his student Lee Ju-yeong while interned in the Geoje prison camp. Comprising 2 books and spanning over 48 pages, 74 drawings were produced alongside explanations in a textbook format. The table of contents was ordered starting from body proportions, then the skeleton, the muscles, and the head. By part, there were 4 drawings of the trunk, 51 of the head, 7 of the arms, 9 of the legs, and 3 of the full body. Though the drawings of the head and face are both high in number and in detail, there were many errors in his depictions of the bones, and the boundaries between the structures of his muscle drawings were drawn so unclearly as to be indistinguishable. The essential forms, proportions and movement are included, but his disproportionate dedication to the head and the incoherent way that the book is arranged with no relevance to its table of contents leave something to be desired. It is regrettable that Lee Quede's return to North Korea meant that his drawings were not widely used, but despite this, I believe that these are invaluable documents in assessing the influence of Japanese artistic anatomy at the time, as well as the introductory circumstances of Korean artistic anatomy.
Subject(s)
Humans , Anatomy, Artistic , Arm , Asian People , Democratic People's Republic of Korea , Head , Korean War , Leg , Muscles , Prisons , SkeletonABSTRACT
The corresponding author of the study has been sketching comic strips to explain anatomy in a humorous manner. All the anatomy comic strips, including those in Korean (650 episodes) and English (451 episodes), can be viewed on the homepage (http://anatomy.co.kr). Such comic strips were created with the aim of assisting medical students. However, their impact was unknown, and therefore, we surveyed the students' responses. We noted that anatomy grades were better in the students who read the comic strips. The comics helped the trainees chat with individuals with and without a medical background. The authors also considered comments on the problems with the comic strips and attempted to find solutions. The episodes are being currently used and further produced for educational purposes. To support this effort, the readers' valuable opinions will be continuously collected and assessed.
Subject(s)
Humans , Anatomy, Artistic , Education, Medical , Students, Medical , Surveys and QuestionnairesABSTRACT
Se describe una técnica para la reproducción y/o restauración de piezas óseas humanas con fines didácticos y académicos para uso científico y/o artístico. Esta técnica permite obtener preparaciones de gran calidad en textura, color y diversos parámetros morfológicos permitiendo obtener detalles y tridimensionalidad de las piezas óseas. La técnica está aplicada a la reproducción de piezas óseas humanas de difícil obtención, como son los huesos de la cabeza, sin embargo se pueden reproducir todo tipo de piezas óseas incluso con menor grado de dificultad. Nuestros resultados confirman que está técnica permite obtener un altísimo grado de fiabilidad comparado con la pieza original, por ello puede ser de gran utilidad en docencia e investigación.
A technique to reproduce and/or restore human bones for teaching, scientific, academic or artistic purposes is described. This technique allows us to obtain optimal preparations in texture, color, allowing three-dimensionality as well as subtle morphological details of bone pieces. The technique is applied for reproducing human bone pieces that are difficult to obtain, as are the bones of the head. However all types of bone pieces can be used. Our results confirm that this technique has a high degree of reliability compared with the original piece. Therefore the technique can be very useful in teaching and research.