Partial veneering on zirconia: minimal layers, maximum aesthetics Case by DT Ghaith Alousi MATERIALS USED KATANA Zirconia YML ZIRCONIA BLANK High-esthetic multilayer zirconia blank with a natural colour gradient from cervical to incisal. Combines high flexural strength with excellent translucency. Ideal for partial veneering. CERABIEN MiLai VENEERING CERAMIC New-generation veneering ceramic specifically developed for zirconia and lithium disilicate restorations. Excellent adhesion to zirconia, natural light optics, wide range of masses for detailed layering techniques. CERABIEN MiLai Internal Stains STAIN COLORS Incisal Blue 1, Mamelon Orange 2, A+, Tissue Pink, Salmon Pink, White – all mixed with Bright for optimal consistency and application precision. CERABIEN MiLai Masses CERAMIC MASSES Tx, Creamy Enamel, LTx, CCV-2, ELT1 for teeth. Tissue 1, 4, 6 for the gingiva. INTRODUCTION The technique represents a modern, efficient approach to dental laboratory aesthetics: rather than voluminous ceramic build-ups, minimal yet precisely applied layers are used, which in combination with the intrinsic aesthetic of the zirconia framework achieve an extraordinary result. In this case report, dental technician Ghaith Alousi documents step-by-step the fabrication of a facially layered maxillary anterior zirconia restoration based on KATANA™ Zirconia YML and the novel veneering ceramic CERABIEN™ MiLai. The key feature: the palatal surface remains monolithic zirconia, while only the vestibular surface is veneered with CERABIEN MiLai. This combines the stability of zirconia with the incomparable aesthetics of a hand-layered porcelain. STEP 1: ZIRCONIA FRAMEWORK BEFORE SINTERING CAD/CAM Milling · KATANA Zirconia YML · Green State The framework was deliberately designed for partial labial veneering: the vestibular surface provides sufficient space for the CERABIEN MiLai ceramic. While the palatal surfaces are entirely monolithic, the occlusal contact points remain on the mechanically superior zirconia. Fig. 1. Framework before sintering. Framework after milling. MATERIAL: KATANA Zirconia YML STEP 2: AFTER SINTERING Sintering · Multi-Layer Aesthetics · Sandblasting Following the sintering cycle at 1550 °C, the KATANA Zirconia YML framework reveals its full multi-layered character. The impressive colour gradient – from a warm, yellowish-cream tone cervically to the cool, translucent incisal edge – is the direct result of the pigment layering integrated into the blank. The framework was cleaned directly after sintering using sandblasting only (110 μm, 1.5 bar), with no further processing. Fig. 2. Sintered framework vestibular view – multi-layered colour gradient after sintering. Fig. 3. Sintered framework - palatal view – monolithic zirconia structure. PROCESSING: Sintering (1550 °C) Sandblasting STEP 3: FIRST STAIN LAYER CERABIEN MiLai Internal Stains · Colour Foundation · Internal Characterisation Prior to ceramic layering, a differentiated stain layer is applied directly to the sintered zirconia framework. This layer serves as the colour foundation and internal characterisation – defining depth effect and individuality. Colour distribution by zone: Incisal: Incisal Blue 1 + Bright 20 % – to simulate the natural opalescence effect.Mid incisor area: Mamelon Orange 2 + Bright 20 % – to replicate the characteristic mamelon structure.Cervical area & interproximal: A+ + Bright 20 % – for increased chroma and saturation in the cervical third.Gingival area: Tissue Pink + Salmon Pink – for natural tissue toning. Fig. 4. CERABIEN MiLai Internal Stains applied – unfired state. CERABIEN MiLai INTERNAL STAINS: Incisal Blue 1 + Bright 20 % (incisal area) Mamelon Orange 2 + Bright 20 % (mamelons) A+ + Bright 20 % (cervical & interproximal areas) Tissue Pink (gingiva) Salmon Pink (gingiva) STEP 4: FIRST CERAMIC LAYER & WASH BAKE Tx + Tissue 1 · Bonding Fire · Bond Optimisation After firing the stains, the first ceramic layer is applied using CERABIEN MiLai Tx for the tooth areas and Tissue 1 for the gingiva. The goal is to establish an optimal bond between ceramic and zirconia. A deliberate wash bake is performed: the firing temperature is raised above the normal reference value so that the ceramic mass flows more readily and bonds optimally to the zirconia surface. A liner or wash fire is intentionally omitted. Fig. 5. First ceramic layer – unfired, frontal view. Fig. 6. Frontal view – raw first layer. CERABIEN MiLai MASSES: Tx (Translucent) – tooth portions Tissue 1 – gingival area Firing mode: wash bake (elevated temperature) STEP 5: AFTER WASH BAKE Bond Verification · Preparation for Second Stain Layer The result after the wash bake shows a first ceramic layer fused to the zirconia. The surface appears smooth and uniformly glossy. The Tx layer enhances the intrinsic translucency of KATANA Zirconia YML and allows the multi-layer colour gradient to shine through harmoniously. Fig. 7. After wash bake – Tx and Tissue 1 perfectly fused to zirconia. STEP 6: SECOND STAIN LAYER – DETAIL CHARACTERISATION Natural Cracks · White · Surface Individualization In the second stain layer, the focus is on maximum precision and detail. CERABIEN MiLai internal stain White is used to apply fine, naturally appearing crack lines (Natural Cracks) to the tooth surface. These subtle whitish crack lines develop in natural teeth through enamel stresses and impart to them their unmistakable, vital character. They run anatomically correctly in a vertical direction, varying in intensity and length – exactly as found in nature. Fig. 8. Close-up – fine crack lines with white stain. Fig. 9. Second stain overview – harmonious detail distribution. CERABIEN MiLai INTERNAL STAIN: White – Natural Cracks / craquelé lines STEP 7: SECOND CERAMIC LAYER – MAIN BUILD-UP Morphology · Enamel Masses · Gingival Design The second ceramic layer requires the highest concentration on colour, morphology, and surface texture simultaneously. This is the main build-up, during which the final form of the restoration is established. Tooth masses – zonal strategy: Creamy Enamel establishes the warm body tone. LTx (Luster Translucent) imparts opalescent vitality. CCV-2 (Clear Cervical 2) provides transparent chroma cervically. ELT1 (Enamel Luster 1) completes the incisal zone with a delicate enamel gloss. Gingival masses: Tissue 1, 4, and 6 create a differentiated tissue appearance with light, mid, and deep tones. Fig. 10. Main build-up – Unfired state. CERABIEN MiLai MASSES – TEETH: Creamy Enamel – body zone LTx (Luster Translucent) – opalescent vitality CCV-2 (Clear Cervical 2) – cervical chroma ELT1 (Enamel Luster 1) – incisal enamel gloss Fig. 11. Main build-up – Close-up – surface texture. Fig. 12. Main build-up – Close-up – surface texture. CERABIEN MiLai MASSES – GINGIVA: Tissue 1 – light, delicate tissue areas Tissue 4 – mid gingival tone Tissue 6 – depth, shadow, interdental papillae STEP 8: SECOND CERAMIC FIRING Not Yet Finished · As-Fired State The result after the second ceramic firing is already convincing in its raw form. The fired mamelon structures, the fine crack lines, and the differentiated gingival design are clearly visible. The final surface texture and form will be refined in the next step through mechanical finishing. Fig. 13. After second firing – not yet finished. STEP 9: MECHANICAL FINISHING Morphology Refinement · Before Self-Glaze Firing Mechanical finishing requires artisanal expertise and a trained aesthetic eye. Diamond burs are used to bring form, proportions, and surface texture to their final level. Special attention is given to surface texture: perikymata, vertical lobule structures, and the cervicogingival transition are individually incorporated. The palatal side remains completely untouched. Fig. 14. After finishing. Fig. 15. Finishing, perikymata and surface texture. STEP 10: FINAL RESULT Self-Glaze Firing & Mechanical Polishing The self-glaze firing differs fundamentally from a conventional glaze firing: no glaze material is applied. The restoration is heated to just below the softening temperature of the ceramic – the surface begins to flow on its own, creating an extremely natural, vital gloss that fully preserves the incorporated texture. Fig. 16 & 17. Final result. An applied glaze mass would partially level the fine perikymata and crack lines. The self-glaze firing instead preserves exactly that individuality so precisely incorporated during finishing. The final mechanical polishing completes the high gloss and accentuates the translucency of the tissue. Fig. 18. Cervicogingival transition. Fig. 19. Final result – close-up. FINISHING STEPS: Self-glaze firing (no applied glaze mass) Mechanical polishing of ceramic surfaces CONCLUSION KATANA Zirconia YML and CERABIEN MiLai from Kuraray Noritake Dental Inc. open new dimensions in aesthetic dental technology. The combination of an intrinsically highly aesthetic multi-layer zirconia blank with CERABIEN MiLai, a veneering ceramic system designed for micro-layering on zirconia as well as lithium disilicate restorations, enables highly natural aesthetic outcomes with minimal material usage. The conscious omission of a liner firing, the targeted use of wash bake for optimal bonding, and the decision to make use of self-glaze firing instead of conventional glazing all express a thoughtful, material-oriented philosophy. The documented steps make clear that esthetic excellence is not the result of complexity. It is the result of precision, material understanding, and an unerring eye for detail. The backlight photograph makes it strikingly visible: light flows through the restoration as through a natural tooth – proof of the harmonious interplay of KATANA Zirconia YML and CERABIEN MiLai. UNCOMPROMISED.UNMATCHED.YOURS. Visit the product page for more details. Sep 16, 2026