• Restorative Dentistry and Endodontics
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• v.24 no.2
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• pp.299-309
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• 1999

The composite resin, due to its esthetic qualities, is considered the material of choice for restoration of anterior teeth. With respect to shade control, the direct-placement resin composites offer some distinct advantages over indirect restorative procedures. Visible-light-cured (VLC) composites allow dentists to match existing tooth shades or to create new shades and to evaluate them immediately at the time of restoration placement. Optimal intraoral color control can be achieved if optical changes occurring during application are minimized. An ideal VLC composite, then, would be one which is optically stable throughout the polymerization process. The shade guides of the resin composites are generally made of plastic, rather than the actual composite material, and do not accurately depict the true shade, translucency, or opacity of the resin composite after polymerization. So the numerous problems associated with these shade guides lead to varied and sometimes unpredictable results. The aim of this study was to assess the color changes of current resin composite restorative materials which occur as a result of the polymerization process and to compare the color differences between the shade guides provided with the products and the actual resin composites before- and after-polymerization. The results obtained from this investigation should provide the clinician with information which may aid in improved color match of esthetic restoration. Five light activated, resin-based materials (${\AE}$litefil, Amelogen Universal, Spectrum TPH VeridonFil-Photo, and Z100) and shade guides were used in this study. Three specimens of each material and shade combination were made. Each material was condensed inside a 1.5mm thick metal mold with 10mm diameter and pressed between glass plates. Each material was measured immediately before polymerization, and polymerized with Curing Light XL 3000 (3M Dental products, USA) visible light-activation unit for 60 seconds at each side. The specimens were then polished sequentially on wet sandpaper. Shade guides were ground with polishing stones and rubber points (Shofu) to a thickness of approximately 1.5mm. Color characteristics were performed with a spectrophotometer (CM-3500d, Minolta Co., LTD). A computer-controlled spectrophotometer was used to determine CIELAB coordinates ($L^*$, $a^*$ and $b^*$) of each specimen and shade guide. The CIELAB measurements made it possible to evaluate the amount of the color difference values (${\Delta}E{^*}ab$) of resin composites before the polymerization process and shade guides using the post-polishing color of the composite as a control, CIE standard D65 was used as the light source. The results were as follows. 1. Each of the resin composites evaluated showed significant color changes during light-curing process. All the resin composites evaluated except all the tested shades of 2100 showed unacceptable level of color changes (${\Delta}E{^*}ab$ greater than 3.3) between pre-polymerization and post-polishing state. 2. Color differences between most of the resin composites tested and their corresponding shade guides were acceptable but those between C2 shade of ${\AE}$litefil and IE shade of Amelogen Universal and their respective shade guides exceeded what is acceptable. 3. Comparison of the mean ${\Delta}E{^*}ab$ values of materials revealed that Z100 showed the least overall color change between pre-polymerization and post-polishing state followed by ${\AE}$litefil, VeridonFil-Photo, Spectrum TPH, and Amelogen Universal in the order of increasing change and Amelogen Universal. Spectrum TPH, 2100, VeridonFil-Photo and ${\AE}$litefil for the color differences between actual resin and shade guide. 4. In the clinical environment, the shade guide is the better choice than the shade of the actual resin before polymerization when matching colors. But, it is recommended that custom shade guides be made from resin material itself for better color matching.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.172-189
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• 2016

In this research, literature research on the Odong material, mixture ratio, casting method and casting facility was conducted on contemporary documents, such as Cheongong Geamul. Also, a long sword was produced using the Odong inlay technique. The sword reproduction steps were as follows; Odong alloying, silver soldering alloying, Odong plate and Silver plate production, hilt and sheath production, metal frame and decorative elements, such as a Dugup (metal frame), production, Odong inlay assembly and final assembly. For the Odong alloy production, the mixture ratio of the true Odong, which has copper and gold ratio of 20:1, was used. This is traditional ratio for high quality product according to $17^{th}$ century metallurgy instruction manual. The silver soldering alloy was produced with silver and brass(Cu 7 : Zn 3) ratio of 5:1 for inlay purpose and 5:2 ratio for simple welding purpose. The true Odong alloy laminated with silver plate was used to produce hilt and sheath. The alloy went through annealing and forging steps to make it into 0.6 mm thick plate and its backing layer, which is a silver plate, had the matching thickness. After the two plates were adhered, the laminated plate went through annealing, forging, engraving, silver inlaying, shaping, silver welding, finishing and polishing steps. During the Odong colouring process, its red surface turns black by induced corrosion and different hues can be achieved depending on its quality. To accomplish the silver inlay Odong techniques, a Hanji saturated with thirty day old urine is wrapped around a hilt and sheath material, then it is left at warm room temperature for two to three hours. The Odong's surface will turn black when silver inlay remains unchanged. Various scientific analysis were conducted to study composition of recreated Odong panel, silver soldering, silver plate and the colouring agent on Odong's surface. The recreated Odong had average out at Cu 95.57 wt% Au 4.16wt% and Cu 98.04 wt% Au 1.95wt%, when documented ratio in the old record is Cu 95wt% and Au 5wt%. The recreated Odong was prone to surface breakage during manufacturing process unlike material made with composition ratio written in the old record. On the silver plate of the silver and Odong laminate, 100wt% Ag was detected and between the two layers Cu, Ag and Au were detected. This proves that the adhesion between the two layers was successfully achieved. The silver soldering had varied composition of Ag depending on the location. This shows uneven composition of the silver welding. A large quantities of S, that was not initially present, was detected on the surface of the black Odong. This indicates that presence of S has influence on Odong colour. Additional study on the chromaticity, additional chemical compounds and its restoration are needed for the further understanding of the origin of Odong colour. The result of Odong alloy testing and recreation, Odong silver inlay long sword production, scientific analysis of the Odong black colouring agent will form an important foundation of knowledge for conservation of Odong artifact.