An electrically-heated blade that may be used to dry moist tissue, reduce swollen tissue, and restore contour to natural form;

Electric spatula (Tissue reducer

The most dense and least adhesive type of wax; a putty-like material used to fill large cavities or model features

Firm wax ; also known as Wound Filler.

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Question	Answer
A colloidal solution dispensed as a mist.	Aerosol
A pressured atomizer used for spraying liquid paint or cosmetic upon a surface.	Airbrush
(1) In cosmetology, the vehicle in a cosmetic (oil base); the initial appliation of cream or cosmetic. (2) The lower part of anything, the supporting part.	Base
One of the four hues corresponding to the pigments of the skin as white, yellow, red, and brown.	Basic pigment
The yellow pigment of the skin.	Carotene
A category of concealer thea neutratlizes discoloration and pigmented blehmishes by using opposing colors from the color wheel.	Color corrective
A measurement of light quality of a light source as compared to sunlight.	Color rendering index (CRI)
In cosmetology, a substance used to impart color to an object; dye, pigment, ink, or paint.	Colorant
A cosmetic technique that consists of highlighting those parts of the face or individual features to enlarge or bring them forward or shadowing them to reduce the appearance of size or deepen a depression.	Corrective shaping
The color and texture of the skin, especially of the face.	Complexion
A media for beautifying the complexion and skin, etc.	Cosmetic
The study of beautifying and improving the complexion, skin, hair, and nails.	Cosmetology
A semi-solid cosmetic.	Cream cosmetic
An electrically-heated blade that may be used to dry moist tissue, reduce swollen tissue, and restore contour to natural form;	Electric spatula (Tissue reducer
A heavy moisturizer that is creamy, thick; helps to retain moisture.	Emollient
A cosmetic color applied to the upper eyelid.	Eye shadow
A cosmetic in pencil form for coloring hairs of the eyebrow or creating an eyebrow where the hairs were removed.	Eyebrow pencil
To reduce gradually to an indistinguishable edge; to "taper."	Feather
The most dense and least adhesive type of wax; a putty-like material used to fill large cavities or model features	Firm wax ; also known as Wound Filler.
Degree of rigidity, stability; a condition of the tissues necessary for the application of wax.	Firmness
Flushed with red, when describing a complexion; not as vivid as ruddy.	Florid
The illumination produced by a tubular electric discharge lamp; the fluorescence of phosphors coating the inside of a tube.	Fluorescent lighting
The title given to the complexion cosmetic in ornamental cosmetology.	Foundation
The quality and quantity of illumination used for presentation of casketed remains.	Funeral light
Iron-containing pigment of red blood corpuscles (cells) functioning to carry oxygen to the cells; the red respiratory portion of the red blood cells; oxyhemoglobin.	Hemoglobin
The illumination resulting from the glowing of a heated filament.	Incandescent light
A small, flat brush having soft hairs or uniform length.	Lip brush
A soft restorative wax, usually tinted, used to cover or replace the external mucous membranes of the mouth or to correct lip separations.	Lip wax
A fluid colorant in which pigments are dissolved or suspended.	Liquid cosmetic
A cosmetic preparation used to darken the eyelashes.	Mascara
A soft, white, oily preparation used as a protective coating for external tissues; a base for cream cosmetics and a wax softener; an emollient.	Massage cream
Having a dull finish, as afforded by application of loose powder; lack of sheen.	Matte
The brown to black-brown pigment in the epidermis and hair.	Melanin
Constructing a form with a pliable material such as was or clay.	Modeling
Not transparent or translucent; not allowing light to pass through a concealing cosmetic.	Opaque
An adornment or embellishment; to artificially beautify the face.	Ornamental
Minute depressions in the surface of the skin, as in the openings of the sweat glands.	Pores
Any solid substance in the state of fine, loose particles as produced by crushing or grinding.	Powder
A device used to blow powder onto a surface.	Powder atomizer
A device containing hairs or bristles set in a handle; used to apply and/or remove powder.	Powder brush
Red complexion; having a healthy reddish color; said of the complexion; more vivid than florid.	Ruddy
A yellowish, sickly color of the complexion.	Sallow
A wax used to fill shallow depressions, that is softer and more pliable than Modeling Wax or Wound Filler; less adhesive than Lip Wax; also known as Surface Restorer.	Soft wax
A flat, blunt, knife-like instrument used for mixing cosmetics and modeling (application and smoothing out of wax); a palette knife.	Spatula
An elastic, porous mass of interlacing horny fibers that are permanently attached; remarkable for its power of absorbing water and becoming soft when wet without losing its toughness.	Sponge
A small, rounded, stiff brush with all bristles the same length; used to simulate pores in wax; stencil brush; could be used for cosmetic application.	Stipple brush
A substance in which particles of ground pigments are mixed with a fluid but are undissolved.	Suspension
Dark-colored complexion, as a face made swarthy by the tropical sun.	Swarthy
A form that receded away from a given point; a form that becomes gradually smaller toward one end; to reduce gradually from the center.	Taper
A brush with a relatively large tuft of good quality, fine bristles, such as black sable or finch; used to blend and stipple cosmetics or powder into the applied (cream) cosmetic, and clean out deposits impacted in pores.	Texturizing brush
Transmitting light but causing sufficient diffusion to eliminate perception of distinct images; somewhat transparent.	Translucent
Having the property of transmitting rays of light through its substance so that bodies situated beyond or behind can be distinctly seen.	Transparent
Underlying colors in the skin.	Undertone
A restorative modeling or surfacing material composed of beeswax, spermaceti, paraffin, starch, etc. and a coloring pigment that will soften at body temperature and will reflect light in a manner similar to normal skin.	Wax
Areas of the skin surface which, during life, are naturally reddened; a place where cosmetics will be applied to restore the appearance of warmth that red hemoglobin would give.	Warm color area
The process of taking in, as in a colored object that absorbs certain rays of light and reflects other rays giving the object its recognizable color (e.g. an apple is called red if the red rays are reflected and the other rays of light are absorbed).	Absorption
A color not found in the visible spectrum; a neutral color such as white, black, gray, and silver and gold (for decorative purposes).	Achromatic color
A process of mixing colored lights on a surface on which the wave lengths of each are combined; adding two or more colored lights together to create another light.	Additive method
In color harmony, two or more hues that have the same hue in common.	Analogous
Brightness; in colored illumination, the quantity of illumination passing through a color transparency; the lightness or darkness of a color.	Brilliance (Brightness)
The brightness or dullness of a color	Chroma (Intensity)
A visual sensation perceived by the eye and the mind due to the activity and vibration of light; a property of material objects, including sources of light, by which they are visually distinguished as possessing the quantities of redness, browness, greenn	Color
Directly opposite colors on the color wheel; any two pigmentary hues which, by their mixture, produce gray.	Complements
Blue, green, purple, or any intermediate pigmentary hue in which they predominate; a receding hue that creates the illusion of distance from the observer; a color of short wave lengths.	Cool hue
The property of a color by which it is distinguished from other colors.	Hue
A pigmentary hue produced by mixing, in equal quantities, a primary hue with its adjacent secondary hue on the color wheel (e.g. red-orange, yellow-green, blue-purple).	Intermediate hue
Simultaneous contrast; any two hues seen together modify each other in the direction of their complements; if they are complements, they enrich each other; if they are not complements, they dull each other.	Juxtaposition
Light-emitting diode lighting; a semiconductor device that converts electricity into light; noted for its high energy savings and long-lasting durability.	LED light
To shine; a form of electromagnetic radiation that acts upon the retina of the eye making sight possible.	Light
Variations of one hue; tints, tones, and shades of one hue.	Monochromatic
A coloring matter that can be applied to an object, when combined with some type of vehicle.	Pigment
The Prang system, theorizing that all visible colors originate from three primary colors or hues; the basis for mortuary cosmetology.	Pigment theory (Prang system)
One of three pigmentary hues (red, yellow, and blue) that can be combined to make all other hues; in light color theory, the hues red, blue, and green can be combined to make all other hues.	Primary hue
The return of light waves from surfaces; the bending or folding back of a part upon itself.	Reflection
A visual aspect indicating the vividness of the hue in the degree of difference from a gray of the same lightness.	Saturation
Equal mixture of two primary light colors that will produce pigmentary hues (orange, green, and purple); a mixture of yellow, magenta, and cyan (green-blue).	Secondary (Binary) hue
A hue into which various quantities of black are mixed; the darkened hue.	Shade
Visible band; the original standard of color; the progressive arrangement of colors (ROYGBIV) seen when a beam of white light is broken down into its component colors.	Spectrum
Method of diminishing the wavelengths of light by superimposing two or more color transparencies over the same light source; the light is gradually reduced by absorption of colors in the light.	Subtractive method
The hue that results from the mixture of two secondary pigmentary hues or an unbalanced proportion of complements with the warm hue or cool hue predominating.	Tertiary hue
A hue into which various quantities of white are mixed.	Tint
A hue mixed with either a small quantity of gray or the complement of the hue, resulting in dulling of the hue.	Tone
The lightness or darkness of a hue.	Value
A color that appears in the spectral band, characterized by long wavelengths; a color that makes an object appear closer and larger; a color that reflects warmth (i.e. red, orange, yellow, and other colors in which they predominate).	Warm hue
Antemortem injuries resulting from friction of the skin against a firm object resulting in the removal of the epidermis.	Abrasion
To oxidize or to cause to be oxidized by fire or equivalent means; a tissue reaction or injury resulting from the application of heat, extreme cold, caustic material, radiation, friction, or electricity.	Burn
A chemical (such as phenol) capable of drying tissues by searing; caustic.	Cauterizing agent
Creation of dermal and subdermal passageways through a single entry point in the tissue in order to allow for the removal of water fluids and gases.	Channeling
Reduced to carbon; the state of tissues destroyed by burning.	Charred
Gauze or absorbent cotton saturated with water or an appropriate chemical and placed under or upon tissues to preserve, bleach, dry, hydrate, constrict, or reduce swelling.	Compress
A state of stretching out or becoming inflated.	Distention
To remove as by cutting out.	Excise
Weight applied to a surface.	External pressure
An injury caused by heat that produces redness of the skin; hyperemia.	First-degree burn
Total evacuation (absence) of tissue.	Fourth-degree burn
The vertical restraining fold of mucous membrane (band of flesh) on the medial aspect (midline) of the inside of each lip connecting the lip with the gum.	Frenulum
A clean cut into tissue or skin made with a sharp instrument; in embalming, a cut made with a scalpel to access arteries and veins.	Incision
Wound characterized by irregular tearing of tissue.	Laceration
A quick-drying material that leaves a hard, thin transparent coat or layer through which moisture cannot pass.	Sealer
Those resulting in acute inflammation of the skin and blisters.	Second-degree burn
Destruction of cutaneous and subcutaneous tissues; seared, charred, or roasted tissue.	Third-degree burn
The abnormal, excessive, and uncontrolled multiplication of cells resulting in the formation of a mass or new growth of tissue that serves no useful purpose in the body; also known as Neoplasm.	Tumor
The angled cut of the borders of an excision, made so that the skin surface will overhang the deeper tissues.	Undercut
the study of materials and techniques use to apply colorants to simulate a natural appearance for the decedent.	mortuary cosmetology
There are three pigments that combine to create undertones	Melanin, Carotene, Hemoglobin
Technically, hemoglobin is not a true pigment, but it does create the red color that shows through the dermis.	t
Complexions are affected by many factors	(e.g. environmental conditions, age, health, etc.) There are also deviations from normal complexions (e.g. yellow from jaundice or bronze from Addison's Disease.
there are four basic pigments necessary to match the variety of complexions:	brown, yellow, red, and white.
There are five types of mortuary cosmetic media	Cream cosmetics, liquid cosmetics, powder cosmetics, aerosols, and emollients.
The main purpose of powders is to set cosmetics that have already been applied and to reduce sheen (a soft shine that cosmetics can often create.)	t
There are a variety of methods for applying mortuary cosmetics	During the embalming process, adding a dye to the arterial solution can create color in the skin of the decedent.
1. Perhaps the most common method of applying cosmetics is use of a brush.	t
Some cosmetics come with their own puff/pad for application and some restorative artists will even use their own hands to apply cosmetics.	T
Unlike highlights and shadows, warm color areas will need to be created on nearly every case and are found in these locations:	Forehead Cheeks Tip and wings of nose Mucous membranes (red lips) Chin Ears Knuckles of fingers Fingernails/cuticles
There are two common methods	applying blush or rouge with a pat/dab to the area or application of lip color
If post-embalming treatments such as bleaching with phenol cannot remove discolorations, cosmetics will be required.	The best option for discolorations is an opaque cream (liquids are too translucent and will not cover the discoloration.)
It may be necessary to neutralize the discoloration with a color corrective before applying the normal complexion color.	For example, a purple bruise can first be covered with yellow cosmetic to neutralize it; then the normal base can be applied
This type of lighting is effective in the embalming room but, because of its harsh brightness, tends to drown out cosmetics causing the deceased to look pale. The same can be said for sunlight.	Fluorescent light
2. This type of light is much better for presenting casketed remains and can be used in a variety of colors.	Incandescent light
The key to any successful wax restoration is starting with tissue that is FIRM and DRY. This is accomplished during the arterial embalming process. There are other ways to create firm, dry tissue as well	Hypodermic injection (cavity fluid or cauterizing agent/phenol) Surface compress (cavity fluid or cauterizing agent) Electric spatula (aka Tissue reducer) - an electrically-heated blade used to dry moist tissues, reduce swollen tissues, and restore cont
medium consistency and most often used for restoration of facial features, such as reconstruction of the nose or ear. a. It is often called Restorative wax or Derma surgery wax.	Medium wax
restorative artists can add pigments to wax to better match skin color.	Coloring wax
can be done with an electric heated spatula, massage cream, or mixing with a cream cosmetic. The most common method is mixing/softening the wax on our own hand.	Softening wax
there are three ways to firm wax should the need arise: refrigeration, addition of a drying powder, or adding corn starch.	Firming wax
to recreate skin and skin texture, the most common way is hand/finger smoothing. Coat your fingers with water or a thin layer of massage cream to allow your fingers to easily glide over the wax surface. Brushes and a solvent (e.g. acetone)	Smoothing wax
IMPORTANT: A smooth surface is crucial in order to recreate the correct surface details and contour.	t
once the wax is smooth, you must recreate the texture of the skin (e.g. pores, facial markings, etc.)	Creating skin texture
The most common way to recreate natural pores is with a	stipple brush
Wrinkles and facial markings can be recreated in the wax with a blunt-edged instrument or a piece of ligature. Furrows can also be created by elevating areas with a cylinder of wax and then feathering it into the surface	t
Critical to constantly monitor location, size, and form from multiple angles while working. Having the correct measurements is imperative to the successful restoration.	process is slow and tedious; it's recommended to work in stages and take breaks. Returning from a break with a refreshed perspective can make a huge difference! Taking breaks also allows the wax to set and firm, minimizing the chances of altering it once
It is recommended to begin the restoration with the profile view; this allows the best view of anterior projections. It is of course critical to use as many viewpoints as possible (i.e. frontal and three-quarter views, etc.)	Don't limit your views to the up-close perspective; stepping back and viewing from a distance can greatly help perspective!
The text has a brief passage on aspects of cosmetizing an unembalmed human remains for viewing. Read it carefully.	surface of the skin is clean and dried Cream cosmetics are often used due to notable crevices liquid cosmetic can settle)that can be present in an unembalmed Aerosols or airbrush application desirable not affected by the flaccid unembalmed tissue
Must avoid simply “painting it on” Results in visible brushstrokes and bristle lines	t
Cream Cosmetics:  Benefits	Ease of blending Ability to mix with and adhere to wax Inhibition of dehydration Ability to properly conceal discolorations (or other faults)
Cream Cosmetics: Drawbacks	Become matted in facial hair, eyebrows, cilia, and head hair Requires cleaning/removal Easily removed or rubbed off Casket interior Clothing Can have “caked on” appearance Common complaint
Liquid Cosmetics:  Application	Most liquids flow easily and have an evaporating vehicle Leaves only the tint behind Must shake well to mix pigment and vehicle Liquid is simply painted on to skin surface Initial color will fade after vehicle evaporates
Liquid Cosmetics:  Benefits	Dries completely after vehicle evaporates Can be applied in/around eyebrows, cilia, facial hair, head hair without much worry Do not cling to hair or colorize it
Liquid Cosmetics:  Drawbacks	Not suited for concealing discolorations Can stain clothing and casket interiors NOT COMPATIBLE WITH WAX Pigment may collect in shallow areas or crevices of the face
The main purpose of powders is to set cosmetics that have already been applied and to reduce sheen (a soft shine that cosmetics can often create.)	Most common methods of application: A powder atomizer - a device used to blow powder onto a surface. Powder brush
Highlights and shadows are added for corrective shaping:	Cosmetic technique which consists of highlighting those parts of the face or individual features to enlarge or bring them forward or shadowing them to reduce the appearance of size or deepen a depression.
A color corrective is a category of concealer that neutralizes discoloration and pigmented blemishes by using opposing colors from the color wheel.	For example, a purple bruise can first be covered with yellow cosmetic to neutralize it; then the normal base can be applied.
Incandescent light is illumination resulting from the glowing of a heated filament.	This type of light is much better for presenting casketed remains and can be used in a variety of colors.
Softening wax	Done with an electric heated spatula, massage cream, or mixing with a cream cosmetic. The most common method is mixing/softening the wax on our own hand.
Firming wax – three ways to firm wax should the need arise:	Refrigeration Addition of a drying powder Adding corn starch
Smoothing wax: to recreate skin and skin texture Most common way is hand/finger smoothing. Coat your fingers with water or a thin layer of massage cream to allow your fingers to easily glide over the wax surface.	IMPORTANT: A smooth surface is crucial in order to recreate the correct surface details and contour.
Wrinkles and facial markings can be recreated in the wax with a blunt-edged instrument or a piece of ligature.	Furrows can also be created by elevating areas with a cylinder of wax and then feathering it into the surface.
Isaac Newton discovered that sunlight is composed of pure colors and, when light passes through a prism, it spreads out into a spectrum	a visible band of colors arranged in the ROYGBIV progression: red, orange, yellow, green, blue, indigo, and violet
Newton discovered that three of the seven colors of the spectrum Primary Colors: (red, green, and blue) could be used to reproduce all the other colors of the spectrum as well as different colors resulting from their mixtures.	The secondary colors are yellow, cyan (blue-green), and magenta.
White light	is a ray of light which contains all the hues of the visible spectrum in such proportion that the light appears colorless or "natural"; as daylight or sunlight. White represents the presence of ALL color. Black represents the absence of all color.
For example, an apple is called red if the red rays are reflected and the other rays of light are absorbed.	a. Reflection is what determines what color an object is perceived to be.
a. For example, you could mix blue (a primary hue) and green (blue's adjacent secondary hue) from the color wheel and get blue-green as an intermediate hue. (The primary hue is named first, then the secondary.)	intermediate hue
It's also a color which reflects warmth; i.e., red, orange, yellow, and other colors in which they predominate. b. Orange is considered the warmest hue.	Blue is considered the coolest hue.
Pigment Theory/Prang System Primary Colors (P): Red Yellow Blue	Secondary Colors (S): Orange Green Purple
4. A juxtaposition occurs when any two hues are seen together and modify each other in the direction of their complements.	a. Complements will appear brighter while non-complements will appear gray (duller.)
Color harmonies occur when we place hues in close proximity without mixing them. These harmonies are pleasing color combinations.	There are four variations of color harmony: monochromatic, analogous, complementary, and contrast complementary.
a. For example, yellow, yellow-green, and yellow-orange.	2. Analogous - two or more hues that have the same hue in common.
a color scheme of contrasting but non-complementary hues. There are several types of contrasting harmony schemes.	Contrasting (non-complementary)
use of four hues, including two adjacent hues and their respective complements.	Double complementary
use of three hues which include a base hue and two hues on each side of its complement.	Split complementary
use of four hues: two hues on either side of a designated base hue and the complement of each of these hues.	Double split complementary
three hues that have three hues between each of the hues.	Triad
four hues that have two hues between each of the hues.	Tetrad
is a process of mixing colored lights on a surface on which the wave lengths of each are combined; adding two or more colored lights together to create another light.	additive method
1. Using the additive method, color is produced by adding colored filters to a light source.	2. The primary colors are: Red, Green, and Blue
3. The secondary colors are: Yellow, Magenta, and Cyan (Blue-Green); they are produced by equal amounts of two primary colors. Additive Method	Yellow = Red + Green b. Magenta = Red + Blue c. Cyan (Blue-Green) = Blue + Green
The complement of a primary hue is produced by adding equal amounts of the other two primary hues:	Complement of Red = Cyan (Blue-Green) b. Complement of Blue = Yellow c. Complement of Green = Magenta
Additive MethodPassing light through ONE filter: Light through a red filter = RED Light through a green filter = GREEN Light through a blue filter = BLUE	Passing light through TWO filters (see overlaps in diagram): Red + Blue filters = Magenta Red + Green filters = Yellow Blue + Green filters = Cyan (Blue-Green)
llumination is a method of diminishing the wavelengths of light by superimposing two or more color transparencies over the same light source; the light is gradually reduced by absorption of colors in the light.	subtractive method
This method is the opposite of the additive method as we are filtering out (i.e. subtracting) those hues that are uncommon to the filters being used. the visual effect of the two filters is the hue that is common to both transparencies.	In the subtractive method, the primary colors are: Magenta, Yellow, and Cyan (Blue-Green). a. Note that these are the secondary colors in the additive method.
2. As you may have guessed by now, the secondary colors of the subtractive method are: Red, Blue, and Green (or the primaries in the additive method.)	rimary Colors: Magenta Yellow Cyan (Blue-Green) Secondary Colors: Red Blue Green
Subtractive Method:	Light passes through these filters: 1. Magenta + Yellow = Red 2. Cyan + Yellow = Green 3. Cyan + Magenta = Blue 4. Cyan + Magenta + Yellow = BLACK
, let's remember that the success of these treatments is dependent on starting with clean, firm, and dry tissue. This step is accomplished during the process of arterial embalming.	It is extremely difficult to do effective restorations on tissue that is not firm and dry.
Abrasions Apply massage cream around the affected area (DO NOT apply it directly prevents dehydration and discoloration of the tissue around the abrasion protects the surround skin if arterial solution leaks from the abrasion embalming	Once the abrasion is firm and dry (i.e. after embalming), remove any scabs and dehydrated tissue with a scalpel or forceps. Dry the area with cotton and a cauterizing agent (e.g. phenol.) Apply wax (if necessary.) Cosmetize the area
Treatment for Lacerations and Incisions It may be necessary to implement temporary sutures to hold the skin in a fixed position during the embalming process. These sutures will be removed after embalming is completed.	1. To minimize leakage, dry the interior of the wound with a cauterizing agent - a chemical (such as phenol) capable of drying tissues by searing; caustic. 2. Apply massage cream to the outside of the wound and the surrounding tissue.
A. Treatment for Lacerations and Incisions Once the tissue is cauterized/dry, use cotton to remove any excess moisture inside the wound and pack with incision sealer/cotton. 4. Trim any dehydrated tissue.	Suture the wound closed or close using a super adhesive. a. If the wound is on a viewing area (e.g. face), be sure to use a subcutaneous suture that can be waxed.
Regardless of method of closure, be sure not to distort any facial features when bringing the edges together. c. If the wound is too large to close, a basket-weave suture can be used as an anchor for a wax application to cover the wound.	6. Proceed with additional wax and cosmetic treatments.
Lacerations on Eyes or Lips Because this tissue is so thin, a super adhesive is often the best course of treatment.	An eyecap can be used as a foundation to wax eyelids if necessary. If lip waxing is needed, be sure to recreate the natural furrows in the lips. Tissue builder can also be used to restore contour (rather than wax.)
C. Treatments for Third-degree Burns Excise loose, damaged (charred) tissue. To excise means to remove as by cutting out. 2. Pack any wounds with cotton. 3. Treat exposed areas with a surface compress of a cauterizing agent.	Cover damaged areas with a sealer. A sealer is a quick-drying material which leaves a hard, thin transparent coat or layer through which moisture cannot pass Dodge's Perma-Seel Apply wax and cosmetics. Non-viewable covered in plastic garments
D. Treatments for Fourth-Degree Burns	There are no treatments to address this extreme situation and viewing is not recommended.
arterial injection should be done BEFORE any tumors are excised UNLESS the tumor interferes with solution circulation or affects/distorts facial features.	Tumors
A. Treatments for Tumors Several hours AFTER EMBALMING, excise the mass with a scalpel. 2. Make an undercut on the incision: this is an angled cut of the borders of an excision made so the skin surface will overhang the deeper tissues.	This undercut may prevent the need for a basket-weave suture intradermally. b. It should also minimize the formation of a line of demarcation. 3. Trim any jagged edges, cauterize all exposed tissue, and seal with a sealing agent.
A. Treatments for Tumors	Use a basket-weave suture to secure margins of the excision. 5. Fill the excision with wax and restore normal contour and texture. 6. Cosmetize the area.
Methods to Reduce Swelling 1. External pressure is weight applied to a surface. This can take many forms for the restorative artist:	Cotton compress saturated with water (to add extra weight) b. Manual digital pressure c. Pneumatic collar or water collar d. Electric spatula
using a scalpel to remove tissue followed by the application of a cauterant pack.	Surgical reduction
an incision is made in the swollen area and absorbent cotton strips are placed in the incision to draw out fluid/moisture.	Incisions/wicking
The main cause of separation in the eyes and lips is dehydration. In this case, both the eyes and lips should be treated with massage cream.	t
1. Separated eyes	Stretch" the eyelids until they abut and apply super adhesive. b. Sever the levator palpebrae superioris muscle (not a common treatment.)
2. Separated lips	a. Hypodermic tissue building to restore fullness and bring the lips together.
b. Lip waxing:	Place wax on each lip and blend into surround area; 2) Place a cylinder of wax in the separation and smooth to the upper mucous membrane (lip.)
Treatment of Prognathisms	Allow Teeth To Show 1. Clean the teeth with a non-abrasive cleaner. 2. Paint the teeth with clear nail polish (to create a moist appearance.) 3. Apply massage cream to the inside and outside of the mucous membranes to minimize dehydration.
B. Attempt to Hide Teeth Prognathisms Stretch the lips together and place adhesive at the line of closure. 2. Support the lip(s) with cotton or wax to bring them closer together.	Use long strips of cotton (aka "cotton slings") on the upper and lower integumentary lips to hold them in place during embalming. a. Theoretically, cold water is preferable to avoid over-embalming of the tissue.
B. Attempt to Hide Teeth Prognathisms b. Slings should be removed as soon as possible (when fixation begins) to avoid leaving a mark on the face.	Cut the frenulum to allow more of the inner mucous membrane to be rolled outward as if part of the outer mucous membrane.

Created by: jcowing

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