1st Creation Asian User Symposium In Japan
Speakers Representing Japan
1940 Born in Vienna, Germany
1978 Established own dental laboratory
1984 Lectured at the International Ceramic
Symposium in London.*
1984 Founded “oral design”
1988 Developed Creation Willi Geller
1993, 1997, 2001, 2005, 2009 Lectured at QDT Symposium
2012 Lectured/Hands-on Course at the Great East Japan Earthquake Relief
Charity Symposium in Tokyo
2015 Charity Hands-on Course for the Great East Japan Earthquake Relief
2016 Lectured/Hands-on Course at the Great East Japan Earthquake Relief
Charity Symposium in Sendai
2017 Lectured at QDT Symposium
*Mr. Geller lectured with Mr. Makoto Yamamoto by the invitation of Dr. John McLean. It is a famous story that originally, their lectures were planned to be presented in a smaller room with a capacity of 250, while dentists were given a larger room. However, the audience for their lectures ended up more than 1000, three additional rooms were assigned.
Keywords: oral design, movie
In the transition era of metal ceramics to all ceramics, esthetic dentistry has evolved. This evolution is not only due to materials but also the development of digital technology, including cameras. Unlike film photography, which is technical sensitive, digital photography enables users to understand the method of photography more easily. In addition, we should keep in mind that there is a possibility of data manipulation done. In other words, we never know what the reality is. Digital photography has changed the way we handle photography completely.
While I have doubted what the reality is, I encountered videography. I felt that it is the best way to convey my own daily work, not only restorations but also the patient’s personality and expression. Documentation of the restorations can be done multi-directionally. This may be the best way so far to present the restorative treatment, which improves the patient’s oral condition and personality.
In this lecture, I will present a movie for you to see and feel my daily practice through explaining how I design the patient’s oral condition.
※ This lecture synopsis was written by Yasuhiro Odanaka from his conversation with Mr. Geller. It was not the synopsis written by Mr. Geller for this lecture.
A ceramist and professional photographer, born in Nagoya, Japan. Naoki Aiba, CDT graduated from the Dental Technology Program at the Dental School of Aichi Gakuin University in Nagoya, Japan in 1982, and completed the post-graduate ceramics course at the Tokai Dental Technicians School in 1986.
He received the “Young Speaker of the Year Award” by the International Society for Dental Ceramics in 1989. In 1992, Mr. Willi Geller selected Mr. Aiba to be a member of Oral Design. He has lectured, conducted hands-on courses, and published in more than 30 countries on ceramics, dental photography, and dentist-laboratory communications. Mr. Aiba currently serves as a technical advisory board for the Monterey-Salinas Study Club, and a member of the editorial board for QDT.
He is also an award winning landscape photographer. His photography has been featured in travel magazines, calendars, dental catalogues, and TV shows around the world.
He maintains his laboratory, Science Art, Inc., specializing in high-esthetic ceramic works in Monterey, California. He instructs comprehensive hands-on program, DENTSCAPE Continuum, designed for experienced dental technicians and dentists at his teaching facility, Oral Design Center Monterey.
DENTSCAPE: Dental Photography for Dentist - Laboratory Communication
Keywords: Basic knowledge of photography, facial view, analysis of midline and incisal plane, analysis of shade
The advancement of digital cameras made photography more popular than ever. However, many dentists and dental technicians are still struggling to photograph images which precisely convey esthetic elements for fabrication of restorations.
In this presentation, Naoki Aiba, CDT will address the following three points to explain the fundamental of dental photography as a communication tool, photographing methods, and applications.
1. Basic knowledge of photography that dentists and dental
technicians should know
2. Method of photographing facial view, and analysis of midline
and incisal plane
3. Method of photographing shade photos, and analysis of
Numerous clinical case examples will be discussed to illustrate how the photographic information was materialized into ceramic restorations.
1964 Born in Iwate
1984 Graduated from Iwate Dental Technician
1986 Graduated from International Dental
Academy LabTech School
1986 Worked for International Dental Academy LabTech School
1993 Studied under Mr. Geller at oral design center in Zurich, Switzerland
1993 Became oral design member
1996 Worked for Kami Kitazawa Dental Clinic
1998 Established Baren
2011 Established oral design SAIUN
Keywords: Emergence Profile, S Shape Profile, Fluorescence, Two types of Values
I got an opportunity to study under Mr. Willi Geller in Zurich, Switzerland. Every time a patient comes to the lab, Mr. Geller showed me how the restorations looked in the mouth. It was a very valuable experience for me. What I was impressed the most was that the restorations made by Mr. Geller harmonized in the mouth – I could not distinguish the restorations from natural dentition – not only the restoration itself but also the harmony of the cervical aspect of the gingiva was amazing. I felt that Japanese dental technicians at that time were focusing on fabricating the restorations that looked realistic on the models, but not in patients’ mouths, and so were the cases published in dental journals. I was convinced that something was wrong in clinical practices in Japan. It was in February of 25 years ago when I was 29 years old.
It has been more than 20 years since I have been working in a clinical setting. During that time, my focus has been on harmony between restorations and gingiva, utilizing the concept of “S Shape Profile” advocated by Dr. Katsunori Nameta, in conjunction with working on emergence profile. In clinical cases, in order to achieve a natural appearance, it is also important to match the shade of the cervical region, which interfaces free gingiva, while blending with surrounding dentition. An appropriate amount of translucency, chroma, and fluorescence are essential to make a cervical shade of the restoration blend to the tissue. The fluorescence of the crown part of the restorations has been often discussed in Japan, but what is most important is that fluorescence delivers the light to surrounding gingiva: thus; tissue appears healthy. Dental professionals in Japan often overlooked this phenomenon. In addition, in natural dentition with low chroma, the shade is not always just white; there is a tendency that other factors influencing the value to be high, which does not mean low chroma equals high value. Natural dentition has intrinsic high value, which presents vitality unlike shade tabs, but at the same time, natural dentition has translucency. It is challenging to replicate this type of characteristics, particularly in the shade matching of the cervical region.
In this lecture, I will discuss the harmony by shape and that by shade, and procedure.
1973 Born in Chiba, Japan
1993 Graduated from Toho Dental Collage
1995 Worked for International Dental Academy
1999 Studied at Willi Geller Dental Labor
2001 Worked for Aishi Denta Laboratory
2003 Established oral design KEN
“Pursuit of Simplicity”
Keywords: Reducing remakes, Reducing production time, Producing high-quality restorations
It has been 26 years since I became a dental technician. Time flies - we are at the mercy of time, and dental laboratory industry is no exception. As the material evolves, "techniques," "precision," and " work philosophy" have greatly changed for better or worse. Mr. Willi Geller’s presence and his philosophy have been constantly influencing me through the time. For about three years, I was fortunate enough to study under Mr. Geller. That experience is the motivation (motivation, desire, maintaining the quality) to my work now, and it is my continued passion.
Creation ceramic system developed by Mr. Geller has recognized as a porcelain for multicolor build-up, and it has misunderstood as a "difficult ceramic system," which required surpassed skills to handle. Unfortunately, this is the reputation of Creation in Japanese dental industry.
Any dental technician aims the followings:
(1) Technique for less chance of remakes
(2) Reducing production time
(3) Produce better quality restorations
To realize the above, it is understood to use user-friendly ceramic systems, which do not require complicated handlings. It is less known that Creation porcelain can be handled simple method to achieve good result while achieving the above-mentioned aims.
In this lecture, I will enlighten a new side of Creation porcelain – the original side - by illustrating the clinical cases utilizing Creation porcelain, focusing on the three points above.
1970 Born in Osaka, Japan
1991 Graduated from Osaka Dental University of
1992 Graduated from Osaka Ceramic Training
Center Worked for Mino Dental Office
2005 Studied under Mr. Willi Geller at Oral Design Center Member
of Oral Design
Established Oral Design Osaka
Creation Porcelain Instructor
A master dental technician specialized in clinical excellence cultivated through the thirteen years of shade taking and post-op observations in a clinical setting.
“A Biological Approach to
Keyword: S shape profile
A research paper by Dr. Yoshinori Nameta, titled
Considerations on Free Gingiva in the Aesthetic Prosthesis: A Clinical Viewpoint on Epithelial Attachment” was published in 1995. In 1991, Mr. Geller came to Japan to give a lecture. I was a student at the Osaka Ceramic Training Center then. I still remember clearly that I was impressed with his metal ceramic restorations that looked ordinary on the model looked so natural once they were seated in the mouth.
However, about the same time, some Japanese dentists, including Dr. Nameta, were also seeking gingiva-conscious prosthetic treatments. Since then, I have been following the footsteps of Mr. Geller, who developed the Creation porcelain, and the team of Dr. Nameta and Mr. Odanaka by studying their prosthetic concept. As a result, it became clear that dental prosthetics fabricated with biological approach contribute not only esthetic but also longevity.
In this lecture, the advantage of S shape profile concept in dental prosthesis on natural abutment, and it’s applications on implant prosthesis will be discussed.
Luke Hasegawa, CDT, graduated from Japan’s prestigious Niigata Dental University for Dental Technicians in 1995, and completed a program at Tokyo Dental and Medical University for Dental Technicians in 1997.
He received the “Special Article Award” by the International Dental Technology Association in 1997 for his published article “Light Transmitted Porcelain and Composite Resin Material”, Additional honors include three gold medal awards from the Florida Dental Association smile competition in 2008.
He has had the privilege of being mentored by world pioneer technicians Mr. Willi Geller and Mr. Naoki Aiba. Luke was invited to join Mr. Geller's Oral Design group in 2009.
In 1998 he immigrated to Canada from Japan as a dental technologist and now work in Dr,Dean McNeel’s in-house lab since 2010. He resides with his wife and two daughters in Fayetteville Arkansas in United State.
”My porcelain build up technique using CREATION porcelain. ”
Keywords: Opacity control,Opal control
If the value control of the anterior restorations can not be approached in the patient's mouth. It will be forced to reproduce with high probability. I still feel that it is a challenging task for dental technicians.
I would like to introduce my porcelain build up based on the value of transmitted light for the difference in transparency of individual porcelain powder with creation porcelain. In this lecture, I will explain two themes and the clinical case.
1.Consideration of the opacity level of each company's Dentin
using a transmitted light measuring instrument.
2. How to control the opal effect strongness and weakness.
1971 Born in Niigata
1991 Graduated from Dental Technician School
at Kanagawa Dental University
1996 Graduated from International Dental
Academy LabTech School
1997 Worked for International Dental Academy LabTech School
1998 Worked for Baren
2011 Worked for Oral Design SAIUN
-Member of Oral Design
-Member of Japan Dental Technologists Association
“Creating Emergence Profile & Color ”
Keywords: Emergence Profile, Natural Scalloped Form
Any dental technician has experienced working with the cases that force him or her to create crown forms, which is far from that of the natural dentition, when the position of abutments and shape of margins contradict with ideal crown morphology. This is because the fit of the margin is absolute and it cannot be ignored.
However, if a margin is set subgingivally, it enables for a technician to design the sub-gingival aspect of a crown, which is the concept of emergence profile. If dental technicians can design an emergence profile, not only the contour of the crowns but also the gingival contour can be designed by the dental technician in some extent, and the dental technician would be able to contribute more on aesthetic outcome and prognosis.
In my lecture, I will explain how to achieve natural scalloped form by controlling the emergence profile with malaligned cases. In addition, it is important to manage the value of dentin structure in shade matching: therefore; I will address how to achieve shade while considering the factors of value.
1972 Born in Kyoto
1993 Graduated from Kyoto College of Dental
Hygienists & Technicians
1993 Worked for Okabe Dental Clinic
1998 Worked for Kitayama Shigeno Dental
2003 Established Kyoto Shitateya
2017 Became Oral Design member
2018 Established oral design KYOTO
-Completed Osaka Ceramic Training Center
-Completed oral design SAIUN course
“Doing the Best for Smiles”
Keyword: Communication with patients
For 25 years since I became a dental technician, I strived to improve my skills desiring “I want to make a full mouth reconstruction case like what Mr. Geller makes.”
Two years ago, I encountered a patient who changed the way I think. By that time, I was able to make the restorations with decent shade and shape. When fabricating the restorations, it is normal for us to consider shade, morphology, tissue contour, tooth arrangement, smileline, and etc. However, this patient changed me to think “what he or she want” from their point of view rather than our point of view. I felt it is very important to understand what they want, and respect it, and support it to make modifications on the restorations. As a result, the patient finally can smile – dentists and dental technicians should feel it as a pleasure - this is the success of the treatment.
Therefore, I would like to share with next generation technicians the pleasure for fulfilling patient’s desires through communicating effectively.