RA Exam 2

Any support or framework (beneath the surface) employed in restorative treatment

• 1. Basket-weave suture
• 2. Loop stitch suture
• 3. Bent wire armature
• 4. Wax support

*used for earsused after embalming for deep wounds or excisions, will maintain the positon of the free margins of the skin, used to provide an anchor & support for wax (wound filler)*use for nosecross stitchess hold the marginal tissue in positioncan be used to hold any armature in positionemployed in all nose reconstrution

*large woundsprimarily used before embalming to bring together the free margins of a lg. wound or cavity, serval individual loops, loops are tied loosely, and the suture is not pulled tight against the skin

is any artificial support or frame work used in a restoration, when the ear is missing an armature of firm wire (ex. a coat hanger) may be inserted under the skin, central part of the wire is bent to conform to the curvature of the ear, the ends of the wire are forced through the skin to lie flat against the underlying bones, a wire armature may also be used to form the bridge of the nose.

*aka: wax fondation, wax constructionmethod of attachement & supported by wax & constructed from wax reconstruction, all parts reconstructed are supported by wax & constructed from wax, the wax support helps to hold the artists reconstruction in place & aids in the fusion & blending of the real & the artificial parts

• 1. External auditory-
• 2. Mandiublar fossa-
• 3. Mastoid proces-
• 4. Zygomatic arch

• basket weave suture
• plaster of pairs and cotton
• cotton and liquid sealer
• wire screen
• wire armature
• cardboards armature
• cotton cylinders
• wax support

it's only used if you have good ventaliation and can be done before embalming.

• Compresses (saturated w/ autopsy gel or cavity fluid)
• Padding (saturated)
• Plugs (saturated)
• Temporary sutures (bridge or loop)

Additional application of cavity packs or autopsy gel, allow at least 4 hrs for tissue to dry (8 to 10 hrs is ideal) better overnight natural atmospheric drying

waxcotton & plastercotton & sealermastic or mortuary puttyplaster of paris

basket weave might be used after cavity packs. after embalming

it's used after destroyed tissue is excised by triming the edge of the wound it will help hold the wax in place.

with fingers

liquid sealer

• Cylinder method
• Filling and tooling
• Surfacing the mucous membranes

against the teeth, behind the mucous membranes. then your press the mucous membranes against the wax to fill the interval.

small gaps between the mucous membranes can be corrected by filling from the front with tinted lip wax, using the spatula to cut (or draw) the line of lip closure. Finally the work can be smoothed with a brush & solvent.

an application of a thin layer of wax to ea. mucous membrane, placing a sm. amount of wax in the palm of the hand & work the wax with spatula to make pliable, with spatula fan over the surface to create the normal convexity of the lips. all of the work can be smoothed with brush and solvent.

treat the oral cavity as open wound, cross stitches or a basket-weave will be required and made as deep as possible, model the lips over the structure making the line of closure half way between the nose and chin.

verbal or written permission needs to be granted, then make the necessary incisions or excisions after embalming. temporarily suture tissue to keep in place. tissue should be firm and dry before wax is attempted. 8 to 10 hours after embalming, set bones if necessary, remove stains and foreign matter from the skin. shave if necessary then apply heavy cream to protect the skin from drying pack deep cavities or tissue.

yes, verbal or written permission should be granted before restoration.

oils, starch, pigments and some times a scent.

• soft ("surface restorer")
• medium ("restorative" or "derma-surgery wax")
• firm ("wound filler")

• surface restorer-soft
• restorative or derma-surgery wax-medium
• wound filler-firm

room temp. makes soft wax tacky and difficult to handle (better choice in this temp is medium consistency for making surface repairs and firm for features and deep cavity

all waxes can be softened by manipulation in the palm. a sm. amount can be kneaded by spatula folding an stretching larger quanity's can be kneeded in the palm through the fingers and both can be softened by immersing in warm water.

white (or ivory), straw (or pale yellow or natural), flesh (light, medium and dark), pink, tan, suntan, brown (light and dark), gray (warm), red (maroon) and purple.serval are used together mixing them to achieve an approximation of the subject's coloring. the first mixed was will resemble the skin the second will be lighter or darker to be mixed with the skin color.

• 1. applied upon wax
• 2. some can be mixed with wax
• 3. some can be applied as a concealing undercoat on a discolored and depressed area before waxing.
• (opaque cream cosmetics lend themselves to all treatement making it very rare to mix with wax.)

it's usually smoohted with the fingers to make your fingers glide freely, wipe clean coat them with water. (also massage cream or white petroleum jelly) using a brush across the surface helps to contour and using a wire-end instrument across the wax in contrasting directions can reduce fullness.

• Pores:by creating the "pore-effect" using a stipple brush simulating pores, or lintless gauze dampened and placed on the wax leaves its impression. paper hand-towel
• Furrows (shallow furrows/wrinkles)- can be drawn in with a thin, blunt-edge instrument, a piece of ligature can reproduce shallow furrows

should be developed over time. as we learn to develop our own technique we can then borrow other's to help or embelish our own technique. we can all learn from basic techniques to help us get through certain things easier and faster with the same kind of results.

the suface of any damaged area is in variable completed with wax

we need to analyze the feature in evry detail, anticipate the problems at hand and dtermin a plan of operation. visualize ever step and not leave anything to chance

the size of ea. feature involves 3 dimensions; the length is vertical measurement, the width is transverse (or hoizontal) measurement, the projection is the meaasurement of the extension of any part beyond it's surroundings. confing to these limitations of measurements.

your hands are your best tools to smooth, form and create the brush will help with smaller or tighter areas

helps with giving you a base until you have formed the larger parts, slow and steady will help with errors which are time consuming

smoothing can be done by hand. A thin coat of petroleum jelly or message cream on fingers or insturments (or on the wax) may help with smoothing.

viewing your work from different angels, with different lighting, from different distances helps you to see all angles of the face along with using your own face to determin the approximate thickness of wax application

greater accuracy in ear reconstrution is obtained by use of wax alone than by wax surfacing of an armature. Using a mirror is value if only one ear needs to be restored. Anatomical structures are more reliable for positioning an ear than a photograph.

first establish the root of the nose, before the extent of projection of the dorsum. if the protruding lope is larger than the norm, the tip is usually higher tha the norm. pay special attention to the "hump" of a convex nose, or the "scoop" of a concave nose. dont over emphasis. if errors in the glabella and the root of the nose it will falsify the positon of the eye & may seem to alter the length of the nose.

with teeth present, the inside the mouth should be dried chemically, the marginal tissues sutured with a basket weave. if teeth absent, deep filler can be applied to the depth of the marginal tissues. keep speical attention to the philtrum, angulus oris eminences, angulus oris sulcus and making details for instance on the vertical lines of the lips. using a point of a straight pin or needle.

first if the margins of the eyesocket have been mutilated or destroyed, they should be simulated and replaced before trying work on the eye. the upper margin is created by the lower part of the forehead and the same with the eyebrow.

it's only 3/4ths geometry and structure the remaining is the artistry of the work

they are confined to the posterior 2/3rds of the base of the nose, & are oblique to each other. not extending into the protruding lobe.

(pug nose) make sure the bottom of the nose is at a right angle to the verticle profile of the face

it should be dried chemically, and hte marginal tissues sutured with a basket weave. if teeth are absent, deep filler may be applied to the depth of the marginal tissues

the lower margin of the upper mucous membrane creates the form of the line of lip closure forming the classic hunting bow

with the point of a straight pin or needle

yes, the margins are influential on the appearance of the closed eye

treat the opening as a cavity wound before attempting restoration. use cavity packs or gel. similar to eye enucleation procdeure. make sure the eye socket is clean and dry and sealed before restoration.

yes if we are restoring the entire eye it's necessary in order to hold the marginal tissues in place

the lateral canthus is usually inferior & posterior to the medial end (medial canthus)

medially off center

"almond shape"

"almond shape" and the "gently dipping curve" of the line of closure

the common transverse sulcus, linear sulci and optical sulci (if present)