Hybrid ceramic build-up on zirconia: a complex approach Case by Dumitru Leahu INTRODUCTION Complex anterior rehabilitations require careful control of shape, colour and optical properties. In this implant-supported restoration, a KATANA™ Zirconia YML framework was combined with CERABIEN™ ZR and CERABIEN™ MiLai (all Kuraray Noritake Dental Inc.) to achieve the desired aesthetic outcome. FRAMEWORK DESIGN A 1mm vestibular cut-back and a free zirconia incisal third were incorporated into the framework design to provide sufficient space for the ceramic layers. KATANA Zirconia YML was used for the implant-supported restoration (Fig. 1). The sintering temperature was 1,550 °C. Fig. 1. Framework design with a 1mm vestibular cut-back and a free zirconia incisal third. MATERIAL: KATANA Zirconia YML CERABIEN ZR BASE BUILD-UP The first ceramic firing with high-fusing CERABIEN ZR porcelain was used to create well-defined and stable concavities with sufficient value and brightness (Fig. 2). The materials used were 0.5 NW Body, Enamel 1, LTx, Tissue 3 and Tissue 4. The firing temperature was 940 °C. Fig. 2. Base build-up with CERABIEN ZR using 0.5 NW Body, Enamel 1, LTx, Tissue 3 and Tissue 4. MATERIAL: CERABIEN ZR INTERNAL CHARACTERISATION Internal characterisation was performed with CERABIEN MiLai internal stains (Fig. 3). Cervical 2 + Bright (mixed in a ratio of 40/60), White + (A+) + Bright (50/10/40), and Tissue Red + Bright (60/40) were applied as indicated. The firing temperature was 700 °C. The internal stains were used to reproduce the internal anatomy and characterisation of the restoration and to support the colour match with the natural teeth (Figs. 4 to 6). Fig. 3. Internal characterisation with CERABIEN MiLai internal stains. Fig. 4. Detail of the incisal characterisation. (left) Fig. 5. Detail of the cervical characterisation. (right) Fig. 6. Intraoral reference for matching the restoration to the natural teeth. FINAL BUILD-UP WITH CERABIEN MILAI The bridge was finished with low-temperature CERABIEN MiLai porcelain. LT1, LTx and ELT1 were used for the final build-up (Fig. 7). The firing temperature was 780 °C. Tissue 1 was subsequently applied to create the final gingival shape (Fig. 8). This time, the firing temperature was 740 °C. Figures 9, 10 and 11 show the finished restoration extraorally, at intraoral try-in and after definitive placement on the implants. Fig. 7. Final ceramic build-up with LT1, LTx and ELT1. Fig. 8. Gingival build-up with Tissue 1. Fig. 9. Finished implant-supported bridge. Fig. 10. Final restoration at try-in. Fig. 11. Final intraoral result. CONCLUSION The presented hybrid approach combines the advantages of high- and low-fusing porcelains for the aesthetic individualisation of anterior zirconia restorations. The high-fusing CERABIEN ZR porcelain can be used to establish the basic morphology and optical foundation before proceeding with lower-temperature characterisation and final layering. As the previously fired CERABIEN ZR layers remain stable during the subsequent CERABIEN MiLai firings, the restoration can be further individualised while maintaining the structures already established. UNCOMPROMISED.UNMATCHED.YOURS. Oct 14, 2026
7 Mistakes to Avoid to Achieve a Natural Result - with KATANA Zirconia YML and CERABIEN MiLai By Jade Sidou Trabuc, CDT Lifelike results: restoration of a micro-layered lateral incisor using CERABIEN™ MiLai ceramic. Internal characterization and minimal layering were performed to reproduce a natural shape, harmonious translucency, and realistic surface texture. Powders used: CCV2 and LTx, internal staining for effects, and surface stains to reproduce details and harmonize the smile. 7 MISTAKES TO AVOID TO ACHIEVE A NATURAL RESULT Aesthetic failures in ceramic restorations are almost never the fault of the material itself. In ten years of laboratory practice, I have rarely seen a restoration fail because of the zirconia or the ceramic material. What I observe instead is a series of recurring mistakes – often invisible during the fabrication process – that ultimately compromise the final result under natural lighting conditions or during intraoral evaluation. KATANA™ Zirconia YML and CERABIEN™ MiLai (Kuraray Noritake Dental Inc.) are materials with remarkable optical properties. Their interaction with light closely resembles that of natural dentition, provided that the entire fabrication process is carried out consistently. The quality of a restoration is not determined by the number of effects applied; rather, it depends on understanding the principles that govern the perception of shade, translucency and surface texture. Born from my daily experience in the laboratory, this article presents the seven most common mistakes I have observed – both in my own work and among fellow technicians – when fabricating micro-layered restorations. For each of them, I explain why it occurs, what its optical consequences are, and which practical solution can be implemented immediately. Mistake n°1: Choosing the wrong translucency from the start Mistake n°2: Copying a photograph instead of understanding the natural tooth Mistake n°3: Neglecting the impact of clinical preparation Mistake n°4: Trying to correct shade with ceramic alone Mistake n°5: Creating excessive contrast between ceramic effects Mistake n°6: Underestimating the importance of polishing and surface finish Mistake n°7: Evaluating your work under a single light source FRAMEWORK, OPTICAL INTERPRETATION AND CLINICAL PREPARATION Mistake n°1 – Choosing the wrong translucency from the start Why it happens: The selection of KATANA Zirconia YML is often driven by habit or used as a default choice because of its outstanding versatility in terms of mechanical strength, without considering the actual clinical situation – namely, the colour of the underlying substrate (light or dark abutment, cast post-and-core/inlay core). The translucency/opacity level of KATANA Zirconia (UTML, STML or HTML PLUS) should be selected according to the shade of the prepared abutment, the available reduction thickness and the brightness of the adjacent teeth. Consequences: A framework that is too translucent over a dark abutment will create a deep greyish effect that cannot subsequently be corrected with ceramic layering. Conversely, an excessively opaque framework blocks the transmission of light, resulting in a dull, chalky and lifeless appearance. Solution: Always assess the shade of the prepared abutment before ordering the disc. Use the KATANA Zirconia YML selection guides, which correlate abutment value, available reduction thickness and the target shade. When working with lithium disilicate over C3 or D4 abutments, favour ML or HT blocks to preserve brightness without allowing the underlying darkness to influence the final surface appearance. Mistake n°2 – Copying a photograph instead of understanding the natural tooth Why it happens: The temptation to reproduce exactly the shade photograph provided by the clinician is strong. However, a photograph is an interpretation of light, not light itself. It flattens volumes, exaggerates certain reflections and eliminates subtle transitions. Consequences: Effects are reproduced without understanding their origin. An incisal halo visible in a photograph may simply be an optical illusion created by the angle of the flash. Attempting to replicate it in ceramic may result in an artificial and static appearance. Solution: Learn to read a tooth rather than copy it. Analyse the distribution of the developmental lobes, the direction of light in the photograph, and distinguish genuine areas of translucency from simple reflections. With CERABIEN MiLai, we work by considering how light circulates within the restoration, rather than focusing solely on its surface appearance. Mistake n°3 – Neglecting the impact of clinical preparation Why it happens: The dental technician works from the impression or digital model provided by the clinician. It is not always possible to reject an under-reduced or irregular preparation, particularly when working under tight deadlines. Consequences: Insufficient tooth reduction forces the technician to fabricate a framework that is too thin, leaving inadequate space for CERABIEN MiLai ceramic layering. A discoloured preparation, or a nonopaque post-and-core restoration, compromises the entire optical chain: even the finest ceramic cannot compensate for an opaque, greyish underlying substrate. Solution: Establish a systematic communication protocol with the clinician, including a space assessment form (facial, occlusal and interproximal clearance), photographs of the abutment shade taken under natural light and, whenever possible, under polarized lighting. Never hesitate to request preparation modifications in writing. A well-documented fabrication report protects the dental technician and contributes to a better clinical outcome. Tip: Before starting a complex case, assessing the abutment shade, the available restorative space and the lighting conditions allows you to anticipate most aesthetic challenges. CERAMIC CANNOT COMPENSATE FOR EVERYTHING Mistake n°4 – Trying to correct shade with ceramic alone This is one of the most common – and most time-consuming – mistakes. It stems from a misconception: that layering ceramic is a universal shade-correction tool. In reality, the final colour of a micro-layered restoration is the result of an equation with four variables – framework, abutment, cement shade and ceramic – and modifying one without taking the others into account is bound to fail. In practical terms: if the selected KATANA Zirconia YML framework is too light for a C4 abutment, applying a more saturated CERABIEN MiLai ceramic on the surface will produce a restoration with two different appearances – too warm in reflected light and too grey in transmitted light. Light reflection and light transmission do not behave in the same way, and the human eye perceives both simultaneously. Practical solution: Establish the complete optical chain before you begin. Know the shade of the cement planned by the clinician (or ask for this information specifically), evaluate the framework under transmitted light before layering, and build the restoration with the overall value in mind rather than focusing solely on the surface shade. Mistake n°5 – Creating excessive contrast between ceramic effects The temptation to use every available effect is understandable. CERABIEN MiLai ceramics offer an exceptionally rich selection of opalescent, fluorescent, mamelon, and incisal effect materials. Precisely because of this diversity, over-characterization can easily occur. Natural teeth exhibit subtle optical phenomena. Internal features such as mamelons, halos, and areas of translucency are generally discreet and become noticeable only at close range. The natural appearance of a restoration does not depend on the intensity of these effects, but rather on the continuity and harmony of the transitions between the different ceramic masses. A restoration with overly pronounced contrasts is immediately perceived as artificial, even by a nonprofessional observer, because it attracts attention instead of blending seamlessly into the dentition. Practical recommendation: Use mamelon characterizations sparingly and evaluate the restoration regularly from a minimum distance of approximately 50 cm during the layering process. This macroscopic assessment helps verify the overall balance of the optical effects and prevents excessive contrast that could compromise the restoration’s natural appearance. POLISHING, SURFACE TEXTURE, AND LIGHT MANAGEMENT Mistake n°6 – Underestimating the importance of polishing and surface finish The surface condition of a ceramic restoration is one of the most critical factors influencing its final optical appearance – and one of the most frequently overlooked. Surface texture acts as an interface between incident light and the observer. An excessively smooth surface reflects light specularly, creating bright highlights that may reveal subtle shade imperfections. Conversely, an overly rough surface scatters light in an uncontrolled manner, lowering the perceived value and accentuating chromatic irregularities. With CERABIEN MiLai ceramics, glazing plays a particular role: it homogenizes the micro-textures generated during the layering process and contributes to the perception of depth. A glaze layer that is either too thick or too thin alters the hierarchy of the visual layers. When properly mastered, post-firing manual polishing can even surpass glazing in terms of naturalness, as it enables the reproduction of differentiated anatomical textures – smoother in the cervical area and more textured in the incisal region. Practical solution: Sequence the polishing procedure according to the different anatomical areas. Use silicone polishers with progressively finer grit sizes while maintaining light, constant pressure. For monolithic restorations fabricated from KATANA Zirconia YML, complete the polishing protocol with a 1-μm diamond paste to achieve a surface smoothness comparable to that of natural enamel. When working with CERABIEN MiLai layered restorations, create the surface texture before glazing using a fine rotary instrument, and verify the surface condition prior to the final firing cycle. Polishing tip: I always keep an untreated extracted natural tooth on my workbench as a reference for surface texture. Before validating the final polish, I compare the restoration with this tooth under grazing light. It is a simple, cost-free, and remarkably effective method for assessing the quality and naturalness of the surface finish. Mistake n°7 – Evaluating your work under a single light source Dental laboratories are often equipped with cool white fluorescent lighting – practical for daily work, but misleading when evaluating a restoration. Cool light tends to overestimate value (brightness), suppress red and yellow hues, and diminish the perception of translucency. A restoration that appears ideal under these conditions may look gray or dull in natural daylight, and excessively warm under the incandescent lighting commonly found in residential environments. This phenomenon, known as metamerism, is particularly critical with highly fluorescent ceramics such as CERABIEN MiLai. Fluorescent pigments respond differently depending on the spectral composition of the light source: a highly fluorescent restoration may appear exceptionally vibrant under UV-rich natural light or ultraviolet illumination, yet much more ordinary under filtered artificial lighting. Ignoring this optical behavior can lead to restorations whose appearance changes unexpectedly once placed intraorally. Practical solution: Implement a three-light evaluation protocol consisting of natural daylight (diffused northern light), warm artificial light (3000 K), and neutral fluorescent or LED lighting (4000 K). Under each lighting condition, assess the restoration first in isolation and then in context, positioned on the model and adjacent to the neighboring teeth. The variations in optical behavior observed under these different light sources will reveal more about the quality and integration of the restoration than any other evaluation method. Lighting tip: In my laboratory, I have a small north-facing window with no direct sunlight. It serves as my primary lighting reference. Every restoration is evaluated under this natural diffused light before leaving the lab. Those two minutes of inspection have saved me from many unnecessary remakes and adjustments. This three-light evaluation protocol makes it possible to detect metamerism before delivery, anticipate the restoration‘s behavior under the various lighting conditions encountered by the patient, and validate the fluorescence of the ceramic under different spectral conditions. CONCLUSION: OPTICAL MASTERY BEFORE OPTICAL EFFECTS After years of working with KATANA Zirconia YML and CERABIEN MiLai, one conviction remains unchanged: it is not the materials that limit the outcome, but our understanding of how to use them. These seven mistakes are not professional failures – they are logical pitfalls that every dental technician encounters on the path to excellence. Identifying, naming, and understanding them is already half the journey. What distinguishes an average restoration from an exceptional one is rarely the complexity of its layering. More often, it is the consistency of the decisions behind it: selecting the appropriate zirconia translucency and opacity according to the clinical situation; accurately interpreting the optical characteristics of the natural dentition; maintaining an effective dialogue with the clinician regarding tooth preparation and cement selection; exercising restraint in the use of effects; applying meticulous polishing protocols; and adhering to a disciplined lighting evaluation procedure. These are simple principles, yet their systematic application has the power to elevate the overall quality and consistency of a laboratory‘s work. Optical understanding Study light, morphology, and transitional areas before touching a brush. A successful restoration begins with observation – not with stratification. Workflow consistency The framework, underlying tooth substrate, luting cement, and ceramic restoration must be considered as an integrated system. Each component affects the optical and mechanical behavior of the others, and no single corrective measure can fully compensate for a weak link within the restorative chain. Restraint with optical effects Internal effects should enhance naturalness rather than attract attention. In ceramic esthetics, subtle transitions are more important than the intensity of individual characterizations. Rigorous evaluation Evaluate the restoration under multiple lighting conditions, at different viewing distances, and within its clinical environment. A rigorous validation protocol constitutes the final safeguard before delivery and definitive placement. After years of experience, I have found that CERABIEN MiLai, with its exceptional chromatic richness and optical behavior closely resembling that of natural dental tissues, reveals its full potential only when used with discernment. It is unforgiving of excess – but generously rewards mastery. This is precisely why, in my view, it is one of the most faithful layering systems available today, capable of adapting equally well to single-unit and multi-unit restorations. Its versatility and optical consistency allow the ceramist to achieve highly natural results while maintaining complete control over the restorative process. “A natural restoration should not draw attention to itself. It should simply feel right. It is optical principles – not the quantity of effects that create the illusion of life.” – Jade Sidou Trabuc UNCOMPROMISED.UNMATCHED.YOURS. Oct 5, 2026
Bio-inspired white and pink aesthetics using a micro-layering approach Case by DT Roberto Rossi BIO-INSPIRED White and pink aesthetic rehabilitations require a workflow that combines accurate framework design with controlled ceramic layering. When each step is carefully planned, the optical properties of the framework material can be fully exploited, reducing the need for extensive ceramic layering. The following case illustrates this workflow using a bio-inspired approach. In this case, a micro-layering technique was used to reproduce the vestibular aesthetics while preserving the morphology of the zirconia framework. KATANA™ Zirconia YML was combined with the low-firing ceramic CERABIEN™ MiLai (both Kuraray Noritake Dental Inc.), making this combination well suited to this type of restoration. FRAMEWORK DESIGN To enhance the bio-design effect, in which the framework morphology reproduces the natural distribution of dentin and enamel, an accurate milling strategy is essential. The planned framework morphology should be reproduced faithfully, without losing detail in the proximal areas or at the transition between the white and pink aesthetics (Fig. 1). The optical properties of the milled framework (Fig. 2) and the accuracy of the milled surface (Fig. 3) provide the basis for a predictable aesthetic result. Fig. 1. Milled restoration within the disc. Fig. 2. Milled zirconia framework reproducing the cut-back design. Fig. 3. Detailed view of the accurately milled framework surface. Once the framework has been correctly sintered, the optical properties of the multilayer zirconia and the effect of the cubic zirconia phase can be fully appreciated. Before sintering, however, particular attention should be paid to the framework surface. Any adjustments should preserve, or even improve, the original morphology created during the CAD design stage. The framework should exhibit a smooth, dense surface, free from roughness and porosity, providing the ideal basis for the subsequent characterisation procedures (Fig. 4). Fig. 4. Framework surface after sintering, surface texturing and finishing. The shade of the KATANA Zirconia YML disc should generally be selected one shade lighter than the desired final shade. This helps to avoid excessive chroma and a low-value appearance in areas where the zirconia is thicker, while maintaining flexibility during the subsequent characterisation and layering procedures (Fig. 5). Fig. 5. Sintered framework on the model. Thanks to the varying light transmission through the different thicknesses of the bio-designed incisal area, the dentinal effect becomes clearly visible after sintering (Fig. 6). Rather than masking these optical properties, the following steps are designed to enhance them through internal characterisation and selective micro-layering. Fig. 6. Varying light transmission of the framework. INTERNAL STAINING The first stage of framework individualisation is carried out using the Internal Live Stain (ILS) technique (Chroma map 1). At this stage, the zirconia framework is considered the dentinal core of the restoration. The technique is simple to apply, provides an immediate visual effect and is particularly suitable for mirror-image tooth groups as well as white and pink aesthetic rehabilitations (Figs. 7 and 8). Chroma map 1. Initial internal staining planned. Fig. 7. Dots of internal stains applied to visualize the planned ILS procedure. Fig. 8. Planned distribution of the internal stains. The initial application aims to increase the chroma of the zirconia, while maintaining a high value in the incisal third. The high value of KATANA Zirconia YML helps preserve the overall brightness of the restoration after subsequent micro-layering with CERABIEN MiLai. The Globule Painting technique used consists of three stages: application, shading and inspection. It also offers a modular approach, allowing additional applications whenever a higher level of individualisation is required. At this stage, only the deeper optical effects should be reproduced with internal stains. Incisal Blue 2 is used to create opalescence, A+ to increase chroma, and Salmon Pink together with Tissue Red to characterise the gingival tissues (Figs. 9a to c). The internal effects are then assessed before firing. After firing, the colours retain their appearance (Fig. 10), allowing the technician to proceed directly to the micro-layering stage. Fig. 9a. Incisal Blue 2 applied to the incisal area.Fig. 9b. A+ applied to increase chroma.Fig. 9c. Salmon Pink and Tissue Red applied to characterise the gingival tissues. Fig. 10. Framework after firing following the initial internal staining. Chroma map 2. Comparison of the planned and completed internal staining. MICRO-LAYERING After internal staining, the restoration is ready for micro-layering with CERABIEN MiLai. Depending on the effects to be reproduced and the space provided by the CAD design, translucent, opalescent and lustre porcelains can be used to reproduce the enamel layer. Opaque dentin porcelains, used individually or in combination, can be applied in the cervical and middle thirds or to create a more opaque mamelon effect. The build-up follows a defined sequence (Layering map 1). CCV2 is applied to maintain translucency while increasing chroma (Fig. 11). LT1 is serves as the main lustre porcelain in the middle third (Fig. 12), while E2 is used as a transition dentin in the incisal area and provides the basis for the subsequent effects (Fig. 13). Layering map 1. Overview of the planned micro-layering procedure. Fig. 11. CCV2 applied to maintain translucency while increasing chroma in the cervical area. Fig. 12. LT1 applied as the principal lustre porcelain in the middle third. Fig. 13. E2 applied as transition dentin in the incisal area. To enhance opalescence while maintaining translucency, Aqua Blue 2 is applied to the incisal area (Fig. 14). Value Liner 1 is then applied within the E2 layer, while Aqua Blue 2 is placed over the incisal edge to increase the contrast of the mamelons (Fig. 15). Fig. 14. Aqua Blue 2 applied to enhance opalescence. Fig. 15. Value Liner 1 and Aqua Blue 2 applied to increase mamelon contrast. The basic morphology is completed with a further application of LT1, filling the transition between the cervical and incisal areas (Fig. 16). For the gingival portion of the restoration, Tissue 5 is used to reproduce the deeper reddish areas, while Tissue 6 is applied to the superficial alveolar tissues (Fig. 17). After firing, the optical effects created by the internal staining and micro-layering become clearly visible (Fig. 18). Fig. 16. LT1 applied to complete the transition between the cervical and incisal areas. Fig. 17. Tissue 5 and Tissue 6 applied to reproduce the gingival tissues. Fig. 18. Restoration after firing following the micro-layering procedure. ILS ADJUSTMENT One of the strengths of the ILS technique is its modularity. Multiple effects can be applied during the initial characterisation, or the firing cycles can be separated to allow additional effects to be added later. Since the internal stains are designed to remain stable during firing and the internal stains contain no internal flux, further characterisation can be carried out without compromising the previous application. Another advantage is the immediate appearance of the applied effects. This allows the technician to assess the colour distribution directly during application and compare the result with the desired outcome. The colour stability of the internal stains after firing also provides excellent control throughout the procedure. The appearance observed before firing closely corresponds to the fired result, making it possible to verify the characterisation before the restoration is returned to the furnace. This can be particularly useful when digital shade-matching systems, such as photography or spectrophotometry, are used. Before applying a second layer of internal stains, the fired surface should be refined with fine diamond burs to obtain a smooth surface for the stains (Fig. 19). At this stage, the superficial enamel effects are refined by reinforcing selected characterisation effects, enhancing opalescence and adding localised spots (Chroma map 3). In the present case, a mixture of White and Mamelon Orange 2 (4:1) was applied to enhance the mamelons. Incisal Blue 2 was then placed adjacent to the mamelons to enhance the contrast. Chroma map 3. Map visualizing the planned ILS adjustment. Fig. 19. Refinement of the framework surface before the second application of internal stains. FINAL LAYERING The final layering stage is used to refine both the morphology and the enamel effects using lustre and enamel porcelains. At this stage, all areas characterised with ILS should be covered with ceramic. LT1 can be used to complete the cervical and middle thirds where no further increase in chroma is required while maintaining the value of the restoration. At the same step, LTx is applied from the middle third towards the incisal area to increase translucency and create a lower-value effect in the incisal region (Fig. 20). ELT1 is then used to refine the morphology and reproduce the natural contrast of enamel by creating the impression of greater enamel thickness in the proximal areas. For the gingival tissues, Tissue 5 is applied to compensate for shrinkage between the teeth and in the deeper areas, while Tissue 1 is used to reproduce the translucent appearance of the superficial gingival tissues (Fig. 21). Fig. 20. Application of LT1 and LTx during the final layering stage. Fig. 21. Completed enamel and gingival layering. SURFACE TEXTURE AND FINISHING After firing the enamel layer, the surface texture is refined using diamond burs of different shapes to reproduce a natural surface morphology (Fig. 22). Before self-glazing, gold powder can be applied to highlight the surface texture and facilitate its evaluation (Fig. 23). Fig. 22. Surface texture reproduced with rotary instruments. Fig. 23. Gold powder applied to highlight the surface texture before self-glazing. Self-glazing enhances the quality and compactness of the porcelain while preserving the natural concavities and convexities of the surface texture. Following glazing, the surface can be refined mechanically using ceramic polishing rubbers to achieve the final polish. The restoration can be evaluated under different lighting conditions to assess the optical properties of KATANA Zirconia YML (Fig. 24), the micro-layering effects (Fig. 25) and the surface texture. The final result demonstrates the harmony between the white and pink aesthetics (Fig. 26). Fig. 24. Transmitted-light view revealing the optical properties of the restoration. Fig. 25. Micro-layering effects visible in the finished restoration. Fig. 26. Final white and pink aesthetic result. FINAL REMARKS This case demonstrates how controlled internal characterisation and selective micro-layering can be used to preserve and enhance the optical properties of a zirconia framework. By combining accurate framework design with minimal ceramic application, highly natural white and pink aesthetics can be achieved in a predictable and efficient workflow. UNCOMPROMISED.UNMATCHED.YOURS. Sep 23, 2026
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