Maricopa Community Colleges MSP207 19962-99999

Maricopa Community Colleges MSP207 19962-99999

Official Course Description: MCCCD Approval: 11/28/95
MSP207 19962-99999	LEC LAB	3 Credit(s) 1 Credit(s)	3 Period(s) 2 Period(s)
Restorative Art
Care and restoration of the deceased human body to create natural form and appearance. Includes anatomical aspects and color theory. Prerequisites: Admission to the Mortuary Science program.

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MCCCD Official Course Competencies:

MSP207 19962-99999	Restorative Art

1.	Relate specified types of restoration to the correct embalming procedures. (I-XVII)
2.	Exhibit a skill in modeling which reflects the student's ability to restore a problem case. (I-XVII)
3.	Identify and describe the use o f various cosmetic and restorative treatments, materials, and equipment. (I-XVII)
4.	Name and locate the external bony structures of the skull and explain how each influences surface forms. (II)
5.	Interpret a photograph by evaluating the highlights and shadows, equal and unequal facial proportions, the specific form of the head and the chief characteristics of each feature. (V)
6.	Identify and describe the norms of the head and face (direct and profile views) and each of the four facial features, and identify four variations of these norms. (VI, VII, VIII, IX)
7.	Classify and explain the principles of pigmentary (color) mixtures, and relate their application to cosmetic compounds and the influence of adjacent colors on one another in the funeral setting. (XVII)
8.	Select from a specified cosmetic medium, the correct colorants (compounds) to achieve a natural appearance under various conditions. (XVII)

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MCCCD Official Course Outline:

MSP207 19962-99999	Restorative Art

A. Definition of restorative art

B. Physiognomy defined

C. Incentives for achieving proficiency

1. Psychological effect on the family and friends

2. Professional responsibility

E. Terms of form, position and/or direction

1. Anterior and posterior

2. Superior and inferior

3. Medial, middle, lateral

4. Bilateral, frontal, profile

5. Projection and recession

6. Depression and protrusion

7. Concave and convex

F. Seeking permission before undertaking a restoration: the consumer's right to informed consent

1. Minor restoration

2. Major restoration

G. Restorations that do not require permission

3. Tissue discoloring

H. Distinguishing characteristics not to be altered or concealed

1. Moles, warts, scars, birthmarks

2. Justification for eye glasses

I. Real and complimentary charges for restorations

A. Geometric form of the normal skull

1. Oval from three views (front, side, and crown)

2. Variations of form because of enlarged width or length

3. Comparison of male, female, and infant skulls

a. Bone thickness

b. Size of bones

c. Prominence of eminence

B. External cranial bones

1. Occipital bone

b. Location of the Foramen Magnum

c. Value in a restoration in case of decapitation

b. Position of the parietal eminence

(1). Anatomically: widest part of the cranium

(2). Physiognomically: in relation to the ears

b. Squama area requiring tissue building

c. Anatomical structures used for accurate location of the ear

(1). External auditory meatus (key structure)

(2). Zygomatic arch

(3). Mandibular fossa

(4). Mastoid process

d. Zygomatic arch

(1). Anatomical location

(2). Physiognomical location

e. Mastoid process

(2). Sternocleidomastoid muscles create the widest part of neck

b. Vertical surface (forehead)

c. Horizontal surface (crown)

(1). Frontal eminence

(2). Supraorbital margin

(3). Superciliary arch

A. External facial bones

a. Location (anatomically)

b. General form and number of surfaces

c. Angle of inclination (profile) compared with forehead and jaws

d. Dip at the root of the nose (profile)

e. Density of covering tissues

a. Location (physiognomically)

b. Surface on both frontal and lateral planes

c. Measures width of the anterior plane of the face

d. Value of the bone in cheek rouging

b. Nasal spine of the Maxilla

(1). Location (anatomically)

(2). Association with the Columna Nasi

b. Form of the "body" (bilaterally)

(1). Vertical portion

(2). Alignment with the front of the ear

(3). Condyle position in regard to the ear passage

(1). Influence on the form of the head (frontal view)

(2). Measurement between them compared with the distance between the Zygomatic Bones

e. Mental eminence

(2). Creates projection on the form of the chin

f. Incisive fossa

(1). Influence on the recession of the lower (integumentary) lip

1. Similarities in the size of features

2. Differences in size relationships

B. Racial differences

C. Horizontal lines (imaginary)

1. Vertex of the cranium

2. Base of the chin

3. Line of eye closure on adults

4. The normal hairline

5. Eyebrow and top of ear

6. Base of nose and base of earlobe

7. Line of closure of the lips

8. Upper border of the chin

D. Vertical lines (imaginary)

1. Medial end of each eye (closed)

2. Extension from the medial end of each eye to the wing of the nose

3. Lateral corner of each eye (closed)

4. Each side of the face (as located on the photograph)

5. Extension from the middle of each eye to the corners of the mouth

E. Proportional relationships

1. Measurements employing the length of the nose (base to eyebrow) as a unit of size

2. Measurements employing the width of the eye (closed as a unit of size

3. Measurements which can be employed in the restoration of the mouth

4. All measurements which can be employed in the restoration of an eye

F. Additional measurements

1. Width of face

2. Height of an adult measured in head-lengths

3. Supplemental equalities

a. Ear-passage to the top of the nose

b. Eyebrow to the base of the chin

c. Hairline to the base of the nose

d. Ear-passage to ear-passage

A. Compare values of snapshots with professional portraits

B. Values of the three-quarter view photograph

1. Suggest the profile

2. Reveal the degree of fullness of the cheeks

C. Value of the profile view

D. Location of the ears falsified by the tilt of the head

E. Inversion of the photograph for detection of asymmetries

F. Highlights and shadows in photographic models

1. Highlight: surfaces lying at right angles to the source of lighting reflect the maximum amount of light

2. Shadow: surfaces which do not receive the full rays of light (or are obscured by other surfaces) reflect little or no light

G. Interpretation of the highlights and shadows of the photograph in their proper relationship to the natural prominences, cavities and depressions of the face

1. Under normal lighting (from above)

2. Under directional lighting

3. Under flat lighting (as of flashbulbs)

A. Basic linear forms (disregarding the nasal profile)

3. Vertical (perpendicular)

B. Combinations of the basic linear forms

1. Convex concave

2. Concave convex

3. Vertical convex

4. Vertical concave

5. Convex vertical

6. Concave vertical

C. Most common form: convex

D. Least common form: concave

A. Geometric forms

5. Inverted triangular

B. Most common form: oval

C. Least common form: triangular

A. Comparison of the two sides of the face (or features) to observe the similarities and differences

B. Asymmetry of features

1. Eyelids and eyebrows

2. Ears exhibit the greatest differences in position, form, and size

4. Nose (misalignment)

5. Mouth: variations

C. Surfaces exhibiting a similarity of bilateral curvature

3. Upper integumentary lip

A. Factors responsible for facial markings

3. Position of the body

a. Effect of sagging muscles on the appearance of age

b. Influence of an erect vs. supine position

4. Condition of the body

a. Rapid loss of weight

b. Pathological condition

c. Corpulance vs. emaciation

e. Other factors

B. Physiognomical description of types of facial markings

1. Furrow (sulcus): a crevice in the skin bordered by adjacent elevations

2. Groove (sulcus): an elongated depression in a relatively level surface

3. Fold (eminence): a recurved margin having greater projection than the adjacent area

C. Reproduction of furrows, grooves, and folds on a wax area

D. Classification of facial markings

E. Classification and description of natural facial markings

2. Nasolabial fold

3. Nasal sulcus

4. Oblique palpebral sulcus

5. Angulus oris eminence

6. Angulus oris sulcus

7. Labiomental sulcus

8. Submental sulcus

F. Classification and description of the acquired facial markings

1. Nasolabial sulcus

2. Transverse frontal sulci

(1). Common form: slight dip medially

(2). Continuity of form

(b). Broken with short overlapping

(c). Continuous

(4). Inclination

3. Interciliary sulci

a. Vertical and transverse forms may occur singly or in combination

(1). Number: single or multiple

(2). Description

4. Optic facial sulci (crow's feet)

5. Superior palpebral sulcus

6. Inferior palpebral sulcus

7. Bucco-facial sulcus

8. Mandibular sulcus

9. Labial sulci

10. Platysmal sulci

11. Cords of the neck

a. Surface restorer

b. Wound filler

2. Cosmetics in, under, and upon wax

3. Altering wax consistency

a. Warmth of hands

b. Mixing with massage cream

c. Petroleum jelly (also makes wax more adhesive)

d. Mixing with a (cream) cosmetic

e. Effect of a hot spatula on a wax surface

g. Talcum powder

i. Smoothing the wax surface

1. Materials for hand-smoothing

2. Solvents for brush-smoothing

B. Conditions of deep and surface tissues necessary for a wax restoration

1. Firm and dry tissue

2. Methods and materials for firming tissues

a. Hypodermic injection

3. Materials to insure dryness

a. Cauderizing agents

b. Electric spatula

c. Sealer (binding agent)

(1). Commercial products

(2). Substitute materials

(b). Hobby cement

(c). Clear nail polish

(d). Rubber cement

4. Solvent to remove residues

C. Modeling Techniques

1. Importance of feature location, size, and form

2. Influence of the profile projection(s)

3. Value of varied and distance viewing

4. Roughness of formative work

5. Comparison of adding and subtracting wax

6. Measurement rechecking

7. Reproduction of surface detail and contour

(1). Effect of a smooth surface

(2). Methods of simulating the pores

(a). Stipple brush (dry or powdered)

(b). Moistened paper toweling (course textured)

(c). Moistened gauze

8. Value of rest periods

9. Modeling the features

a. Modeling the ear

(1). Methods of attachment or support

(a). Wire armature (when the scalp is intact)

(b). Loop stitches (when the scalp is intact)

(c). Basket weave suture (when scalp is missing)

(d). Wax support of remaining parts (when damage is limited)

(2). Mirror of reflection of the undamaged ear

(3). Modeling in position

(4). Stippling the surface

(5). Achievement of correct position, size, and form

b. Modeling the nose

(1). Achievement of the correct form and projection of the nasal profile

(2). Establishing the correct proportions

(a). Cotton and plaster of Paris

(b). Cotton and liquid sealer

(c). Screening of flexible metal armature

(d). Wire or pipe-cleaner armature

(e). Complete wax or other modeling material

(f). Cardboard armature

(g). Basket weave suture

c. Modeling the mouth

(1). Construction of the upper lip first

(2). Achievement

(a). The bilateral curvature of the lips

(b). Correct projection of the lips

(c). Correct proportions

(d). Reinstatement of the medial lobe

(e). Execution of the angulus oris eminence and sulci

(f). Execution of the vertical lines and labial sulci

d. Modeling the eye

(1). Optional construction

(a). Modeling the upper eyelid first

(b). Construction of both lids as a unit

(2). Achievement

(a). Correct location and width of the line of closure

(b). Correct position and projections of both ends of the eyelids

(c). Position of the greatest projection of the upper lid

(d). Form of the closed lids

(e). Execution of the inner (medial) canthus

(f). Proper filling the orbital cavity

(g). Construction of three convexities downward from the eyebrow

(h). Achievement of the concavity above the inner end of the eyelids

A. General characteristics

1. Wedge-like form of the mass of the ear (discounting depressions)

2. Linear form of the anterior border

3. Back of ear not to afford support

4. Composed of cartilage (except the fatty lobe)

B. Anatomical guides for locating the ear

1. Ear passage (external auditory meatus)

2. Alignment with the ramus of the mandible

3. Zygomatic arch

a. Origin from the skull directly superior to the ear passage

b. Divides the length of the ear (a norm)

4. Mandibular fossa

a. Lies directly anterior to the ear passage

b. Hidden by the tragus

5. Mastoid process

a. Lies posterior and inferior to the ear passage

b. Hidden by the lobe

C. Structures of the ear

1. Helix (outer rim)

a. General shape

b. Origin within the concha

(1). Crus (origin) lies upon the zygomatic arch

(2). Flattened into the wall of the concha

(3). Divides the length of the ear

(4). Deeper than the surface of the cheek

c. Anterior-superior portion attached to the face

d. Terminates at the top of the lobe

e. Inner margin is undercut

f. Margin with the least lateral projection (outer)

2. Scapha (fossa between the inner and outer rims)

a. Relatively long

b. Depth: shallowest of all depressions

3. Antihelix (inner rim)

a. Origin at the superior portion of the lobe

b. Terminals: superior and anterior portions of the ear

c. Greater width than the Helix

4. Crura (bifurcation of the Antihelix)

5. Triangular fossa (depression between the crura)

6. Concha (concave shell of the ear)

a. Graduated depth: becomes deepest depression

b. Measurement of the middle 1/3 of the ear's length

7. Tragus (elevation protecting the ear-passage)

8. Antitragus (small eminence obliquely opposite the tragus; located on the superior border of the lobe)

9. Intertragic notch (between the tragus and antitragus)

10. Lobe (inferior fatty 1/3 of the ear)

2. Profile classifications root to tip

a. Straight (Grecian)

b. Convex (Roman, aquiline)

c. Concave (including snub, pug, infantine)

a. Bridge of the nose

b. Thin covering of tissues

2. Nasal spine of the maxilla

a. Projection (from midline of nasal cavity)

b. Indicates the bony length of the nose (covered only by columna nasi)

3. Major cartilages of the nose

a. Septum: vertical cartilage dividing cavity into two chambers

b. Lateral cartilages

(1). Inferior lateral

(2). Superior lateral - no influence on surface form

C. Parts of the nose

a. Protruding ridge

(1). Root (concavity below the glabella)

(3). Protruding lobe

(a). Point of greatest projection

(b). Located on protruding lobe

2. Wings (lateral lobes)

a. Superior to the columna nasi

b. Form of the interior margin: Arch of Wing

3. Columna nasi

a. Superficial partition between the nostrils

b. Position: most inferior portion of the nose

4. Anterior nares (nostril openings)

5. Sides (lateral walls of the nose)

D. Restoration of the nose

1. Distortion (physical)

a. Suturing to maintain position

b. Splint-wedges

c. Hairpins in inferior nasal conchae

d. Needle in septum

2. Tissue erosion

a. Sealer and wax

b. Cotton and sealer

A. Characteristics

2. Bilateral horseshoe curvature of jaws and teeth

3. Variation of both halves (review)

4. Transitional changes during a lifetime: width, length, and sagging corners

1. Projection of the jaw or jaws

a. Infranasal: both jaws protrude

b. Maxillary: upper jaw protrudes

c. Mandibular: lower jaw protrudes

d. Dental: oblique insertion of the teeth

e. Alveolar: area of the sockets of the teeth protrudes

C. Identification of parts of the mouth

1. Superior integumentary lip

2. Mucous membranes (superior and inferior)

a. Line of closure at inferior edge of upper teeth

b. Inferior mucous membrane usually the thicker

c. "Weather line": line of color change at junction of wet and dry portions

d. Vertical lines of mucous membrane

3. Medial lobe: tiny prominence on midline of superior mucous membrane

4. Inferior integumentary lip

D. Structures of the mouth

1. Line of closure

a. Form is created by the superior mucous membrane

b. Directional forms

(1). Horizontal, with gentle curves (common form)

(2). Downward turn of the corners

(3). Upward turn of the corners

(4). Combined forms

c. Small dip at the midline by the medial lobe

d. Long, slightly dipping curves laterally

e. Corners lie posterior to wings of nose (profile)

2. Surface planes of upper and lower integumentary lips

3. Variations of projection of profile of mucous membranes

a. Equal projection

b. Superior mucous membrane with greater projection (norm)

c. Inferior mucous membrane with greater projection

4. Form of the attached borders of the mucous membranes

a. Superior mucous membrane

(1). Resemblance to classical "hunting bow"

(2). Lateral portions

(a). Narrow as they approach the ends of the mouth

(b). Disappear before reaching ends of line of closure

(c). Variations

(3). Line of closure has similar curves

(4). Border projects no farther than the integumentary lip

b. Inferior mucous membrane

(1). Ellipitical form of attached margin

(2). Variation of a reversed curvature medially

(3). Disappear before reaching extreme ends of line of closure

6. Angulus oris eminence

7. Angulus oris sulcus

(1). Triangular in youth

(2). Oblique in middle and old age

b. Transition from the "triangular" to the "oblique" form

8. Labiomental sulcus

9. Labial sulci

E. Restorations of the mouth

1. Expression changes after embalming

a. Resetting the jaws and lips

b. Tissue building in the cheek beside the nasolabial folds

c. Elevation of eminence beside wings or nose with tissue builder

d. Cosmetizing the inferior mucous membrane wider than the upper

2. Buck teeth treatment requires written permission, when necessary

a. Creaming the lips internally and externally

b. Disarticulation of the mandible

c. Cold-water slings

d. Cleaning teeth which are visible

e. Extraction of teeth

f. Cementing lips

g. Use of straight pins

h. Use of sandpaper

i. Pledget of cotton behind the receding lip

j. Incise Frenula

k. Forcing teeth inward

l. Commercial "mouth former" with grated surface (and substitutes)

m. Suturing lips followed by waxing

3. Support for lips when some teeth are missing

a. Commercial mouth putty

c. Commercial "mouth former"

4. Dehydrated lips

c. Hypodermic tissue building

(1). Roll of wax behind the lips

(2). Adding wax to each lip

(3). Placing a roll of wax between the lips and shaping

5. Cementing lips

a. Cleaning and drying the lips

b. Placement of cement behind the "weather-line"

c. Time to place the lips together

d. Solvent to remove excess cement

6. Swollen lips

a. Electric spatula

b. Surgical reduction

(2). Internal compress

(3). Re-shaping the surface

d. Internal and external pressure

e. Excision (with written permission)

A. Margins of orbital cavity

1. Importance of restoring the bony structures before modeling the eye

2. Supraorbital margin (upper rim of the eyesocket)

3. Lateral margin (outer rim)

4. Inferior margin (lower rim)

5. Medial margin (inner rim)

B. Profile forms

1. Surfaces which recede convexly from the eyebrow

a. Supraorbital area

b. Superior palpebra (upper eyelid)

c. Inferior palpebra (lower eyelid)

2. Cheek surface begins to project

C. Line of closure

1. Location in the inferior third of the eyesocket

a. Created by the upper eyelid

b. Dipping curve

3. Relationship of the ends

a. Lateral corner inferior to the medial corner

b. Lateral corner posterior to the medial corner

D. Size and form of the eyelids

1. Superior palpebra approximately 3 times as large as the lower (vertically)

2. Superior palpebra wider than the lower eyelid (horizontally)

3. Greatest projection: upper part of upper eyelid

a. Lies medially off-center

b. Influenced by the cornea

4. Eyelids do not overlap in natural repose

5. Together resemble an almond in form

E. Superior palpebral sulcus

1. Creates a rounded angle with the line of closure at medial end

2. Creates a sharp angle with the line of closure at lateral end

F. Inferior palpebral sulcus

G. Nassorbital fossa

H. Supraorbital area

I. Inner (medial) canthus

J. Oblique palpebral sulcus

K. Optic facial sulci (crow's feet)

L. Linear sulci (eyelid furrows)

M. Common transverse sulcus

N. Oblique palpebral sulcus

a. Located on the inferior palpebra

b. Arise from medial corner

c. May be straight or curving

O. Cilia (eyelashes)

1. Irregular lengths of hair

2. Irregular spacing of hair

3. Absence of hair at extreme ends of the line of closure

4. False eyelashes built

a. On adhesive tape, etc.

b. In conjunction with an eyecap

5. Commercial eyelashes

6. Hair thicker in diameter than hair of head

P. Supercilium (eyebrow)

1. Parts (identified with surface planes)

2. Direction of hair-growth

a. Laterally upward and outward

b. Lateral end horizontal

(1). Directly laterally

(2). On the side of head

3. Location of greatest density and greatest length of hair

4. Irregularity of the inferior border

5. General form: straight, arch, angled

6. Methods and materials for building artificial eyebrows

Q. Eye restorations

a. Support of the eyelids

(1). Non-absorbent or treated cotton

b. Hypodermic tissue building

2. Emaciation at borders of the eyesocket (hypodermic tissue building)

3. Swollen eyelids

a. External pressure (methods)

b. Cavity fluid compress

c. Dehydrating agents

d. Aspiration of blood and serum

(1). Use of hypodermic syringe

(2). Incision beneath eyelids

e. Surgical reduction

f. Electric spatula with liquid swellings

g. Modification of excess wrinkles

4. Discolored eyelids

5. Wrinkled eyelids (caused by reduction of swelling)

b. Reproduction of normal wrinkles

c. Excision of part of the eyelid

d. Electric spatula

6. Protruding eyes (caused by projection of the eyeball)

a. External pressure

b. Puncture of cribriform plate

c. Aspiration behind the eyeball

d. Surgical removal of fat around and behind the eyeball

e. Removal of the tumors of the eyeball

f. Removal of the eyeball

7. Lacerated eyelids

b. Removal of the eyelids and a wax restoration

c. Incision to retain the subject's eyelashes

(1). Attachment to lower eyelid

(2). Eyecap to provide a dry base

(3). Waxing the aperture

d. Building new eyelashes

8. Separated eyelids

b. Stretching the eyelids

c. Incising the restraining muscle of the upper eyelid

d. Perforated eyecaps

e. Excision and rebuilding with wax

f. Incision to retain the subject's eyelashes

9. Orbital pouch

a. Reduction by external pressure

b. Aspiration followed by compresses

c. Electric spatula

10. Dehydrated inner (medial) canthus

11. Enucleation treatment

a. Sealing the cavity

b. Restoration of contour

c. Closing the eyelids

A. Classification of cases requiring restorative art treatment

3. Post-mortem tissue changes

B. Order of treatments

1. Pre-embalming

3. Post-embalming

C. Abrasions and lacerations

a. Removal of scabs

b. Creaming unaffected areas

(1). Efficiency of cosmetics under the wax on abrasions

(2). Efficiency of cosmetics over the wax

e. Pores and wrinkles

1. Discolorations

2. Effect of bleaches

a. On the color of the skin

b. On the moisture content of the skin

c. On surface preservation

3. Surface compresses

a. Cavity fluid compress

b. Commercial chemicals

4. Hypodermic bleaching

a. Reason for possible ineffectiveness

b. Danger of using a staining arterial fluid (dye)

c. Possible problems

(2). Dehydration

(3). Cosmetic application

5. Alternate brush application of phenol and alcohol

a. Danger of excess reaction on body

b. Danger to practitioner

1. Description of first, second, and third degree burns

b. Seared tissue

c. Charred tissue

3. Treatment of unexposed areas

4. Treatment of completely destroyed remains (fourth degree burns)

1. Removal after embalming

2. Need for excision of all unsound tissues

4. Twisted lower jaw (when cancer is in one cheek)

a. Wiring on the diagonal

G. Decapitation

1. Embalming treatment (several vessels should be litigated)

2. Attachment of head to the trunk

a. Use of a splint of metal rod

(1). Insertion into foramen magnum

(2). Attachment to spinal column

b. Alignment of the head

c. Suturing muscles

d. Deep filling materials

b. Decomposition

d. Pathological condition

3. Methods of reduction

a. External pressure

(1). Bandaging (elastic)

(2). Metal weights

(4). Cold water compress

(5). Manual pressure

(6). Surface compress (chemical)

(7). Commercial collars (air or water)

b. Other treatments

(2). Electric spatula

(3). Channel and aspiration

(4). Chemical injection

(6). Surgical reduction of deep tissues

4. Treatment of an unpreserved area

I. Desquamation (skin slip)

1. Preservative treatments

3. Surface filler wax

1. Temporary sutures before embalming to maintain tissue position

2. Removal of damaged tissue after embalming

3. Undercutting the edges

a. Locking wax under the edge

b. Tapering wax over the edge

c. Lowering the level of the ligature

4. Chemical drying of deep tissues

6. Deep filling with appropriate materials

7. Cross stitching (basket weave)

8. Wax surfacing

9. Simulation of the pores and wrinkles

10. Cosmetic adjustments

1. Classification of types

2. Time of restoration

a. Pre-embalming

b. Post-embalming

a. Packing ears and nose for simple cranial fractures

b. Resetting (mandible, nasal bones)

c. Creaming the visible tissue

d. Depressed fractures

(1). Retracting to normal position

(2). Artificial reconstruction

e. Over-riding fractures

(1). Realignment by impact of operator's hand

(2). Support of correct alignment

f. Replacement of missing or destroying bone structures

(3). Wire bridging

(4). Reconstruction with filler

g. Crushed cranium treatments

L. Hair preparation

M. Hair restorations

1. Sources of hair

2. Color of hair

3. Guidelines marked

4. Methods of attaching hair

a. On a wax surface

b. Dipping in melted wax

5. Employment of a scarf or bandage

6. Restoration of hair to the sideburns and temples

a. Overlapping each patch

b. Treatment for short hair (vertically)

c. Treatment for long hair (obliquely)

7. Trimming and thinning hair

9. Restoration of hair to the cranium

a. Applications at hair parts

b. Limits of restoration

(1). Rear hair applications

(2). Front hair applications

10. Curling restored hair

11. Restoration of a mustache

a. Large or small

b. Angle of each patch

12. Restoration of a beard

N. Hypodermic injection of a preservative chemical

3. Strength of the chemical

O. Hypodermic tissue building

1. Conditions requiring treatment

2. Time of application

3. Equipment and materials

a. Types of syringes, including lock

b. Types of needles (gauges)

4. Danger of overfilling

5. General process of injection

a. Radiating needle through same point of entry

b. Depth of the needle in the tissue

c. Needle obstruction

d. Withdrawal of needle as filler is injected

e. Dissipating surface lumps

6. Possible hidden points of entry for each area

a. Behind the eyeball

b. Into the eyeball

c. Into the supraorbital area

(1). Substitute cotton on a cranial autopsy

(2). Other materials

(1). Need for two or more points of entry

(2). Treatment omitted in natural concavities

f. Mucous membranes of the mouth

g. Upper and lower integumentary lips

h. Sides of nose

j. Sub-mandibular area

P. Limbs, severed or missing

1. Ligation of vessels

2. Severed arm or leg

a. Wiring bones together

b. Suturing skin and muscles

c. Plaster of Paris bandage

3. Missing or mutilated forearm (hand in good condition)

a. Connecting lengths of wire

b. Bend of elbow (and wrist)

c. Plaster of Paris bandage

d. Soft padding wrapper

4. Missing or destroyed hand

a. Casting of a similar size hand with a wire loop in wrist area

b. Stuffed glove

Q. Limbs, twisted

1. Strapping before embalming

2. Alteration of the casket bed

R. Mandibular mutilation

1. Armature for support

3. Plaster of Paris (or sealer) and cotton reconstruction

4. Wax reconstruction

1. Chemical to destroy mold

a. Covering for exposed areas

b. Moisture absorbing chemicals in casket

T. Discolored nails

1. Embalming treatments

2. Cosmetic treatments

3. Artificial nails

U. Penetrating wounds

1. Creaming the face

2. Plugging (temporary and permanent)

3. Supplementary embalming treatments

5. Completion of the surface

V. Razor burns (abrasions)

1. Cause and effect

2. Most effective time for shaving

3. Creaming face

4. Value of a cream cosmetic

5. Occasional need for waxing

6. Cosmetic treatment to hide

1. Application of petroleum jelly or massage cream

2. Removal of scabs

a. Prying with edge of scalpel

b. Obstinate scabs

c. Surface filler

3. Oozing scabs

a. Application of a chemical with a swab

c. Surface filler

X. Surface stain removers

1. Common stain removers

2. Solvents for special stains

a. Acid-alcohol

b. Sodium hypochlorite

c. Sodium thiosulfate

1. Types of sutures

2. Materials used (wax or unwaxed)

a. Linen thread

c. Nylon thread

d. Cotton thread

3. Intradermal sutures

(1). Hidden sutures

(2). Location of intradermal tissue

b. Times for suturing

c. Single intradermal suture

d. Double intradermal suture

e. Pattern of each suture

f. Type of needle (non-cutting edges)

4. Basketweave (cross-stitch)

(1). Cross an excision or gaping hole

(2). Hold border in correct position

(1). Interlace at least one vertical stitch with a horizontal stitch

(2). Spacing dependent on fixation of tissues

c. Type of needle

(1). Closing cuts (incisions)

(2). Lies flat; easily covered with wax

(3). Can be used on exposed areas

(4). Can be used for reduction of excess by turning it underneath

c. Pattern of the suture

d. Types of needles

Z. Tumors and abscesses

1. Tumors with pus

b. Local disinfection

a. Flap incision

b. Reduction of excess tissue

3. Pustules on the face

a. Puncture and aspiration

b. Local disinfection

A. Introduction

1. Color is a visual sensation

2. Depends on rays of light reflected

B. The Spectrum

1. Colors of the spectrum

2. R.O.Y. G. B.I.V

C. Absorption and reflection in naming colors

D. Measures of color

a. Name of the color

b. Warmth or coolness

3. Intensity (chroma)

E. Pigment theory (prang system)

1. Imperfections of pigments

2. Classes of hues

c. Intermediate

3. Archromatic (neutral) colors

4. Color wheel (12 hues)

5. Warm and cool hues

(1). Illustration...red, yellow or orange or any intermediate hue in which they predominate

(2). Longer wave lengths

(3). Make objects seem to advance

(4). Psychological effect

(5). Radiate heat waves

(1). Illustration...blue, green or purple or any intermediate hue in which they predominate

(2). Shorter wave lengths

(3). Make objects seem to recede

(4). Psychological effect

(5). Absorb heat waves

6. Changing the value of any hue

7. Changing the intensity of a hue

b. Practicality of tones over pure hues in private and funeral homes

b. Location of complements on the color wheel: opposites

9. Method to determine a complement quickly (without use of color wheel)

10. Effect of complements seen together

a. Juxtaposition

(1). After-image

(2). Simultaneous contrast

11. Human psychological reactions to each hue

a. Pleasant associations

b. Unpleasant associations

G. Color in light

1. How colored light is obtained

2. Inefficiency of color filters

3. Effect of incandescent (white) light on cosmetics and the environment

4. Effect of fluorescent light

5. Measurements of colored light

6. Use of unsaturated colored light in funeral homes

7. Methods of mixing colored light

(1). Trend to produce white light

(2). Application: two or more lights with filters

(3). Primary hues: red, green, blue

(4). Secondary hues: yellow, magenta, blue-green

(5). Complements produce white

(1). Tend to produce black (no light)

(2). Applications: one light with two or more filters

8. Effect of colored lights on colored objects

A. Coloring methods

1. Internal and external

2. External coloring materials

B. Pigments of the skin

3. Hemo-and Oxyhemo-globin

C. Pigment cosmetics necessary to match the skin

1. Brown (dark)

D. Types of complexions

1. Light, medium, dark

2. Variations in each type

c. Yellowish (sallow)

3. Deviations from normal conditions

E. Methods of applying external complexion compounds

a. Softening creams in operator's hand before application

b. Irregularity of application for naturalness

c. Small area to remain as guide to lightness or darkness

d. Addition of red to adjust to lights

a. Hand pressure

b. Power pressure

F. Mixing technique

1. On the subject's face (blending)

2. On the operator's hand (or suitable surface)

3. Practicality of darkening rather than lightening

G. Effect of density in the application of cosmetics

H. Analysis of basic skin pigments in manufactured complexion compounds

I. Cosmetic application at hair regions

J. Highlights and shadows

1. Area of naturally greater darkness

L. Change of tone in rouges

M. Warm color areas on the cheeks

2. Boys and girls

3. Young men and women

4. Mature men and women

5. Aged men and women

N. Cheek-rouge treatment on females who used cosmetics

1. Brilliant colors

2. Treatment according to head shape

O. Balancing the color on the two cheeks

P. Corrective rouging

Q. Dry rouge application

R. Natural warm-color areas on the face

S. Natural warm-color areas on the hands

T. Natural color of the lips

1. Differences in lips

2. Variations in color

3. Classification of rouges: light, medium, dark

4. Painting lips to appear natural

a. Absence of sharply drawn margins (except in ornamental makeup)

b. Vertical brush strokes on vertical lines of waxed lips

U. Changing the dimensions of the lips

1. Widening, narrowing, thickening, thinning

2. Dangers of distortion of natural shape

V. Effect of powder

2. Methods of application

a. Puff or pad or sponge

3. Methods of removal of excess

a. Brush or puff

b. Water on an oil-base cosmetic

4. Danger of heavy deposits of cosmetics or massage cream

a. Caking of powder

b. Color changes

W. Effect of funeral lighting on completed transparent makeup

X. Treatment of small discolorations

1. Artificiality of opaque cosmetics

2. Difference of light refraction compared with skin

3. Probably need for colored lights

4. Graduated scale in cosmetising the small discoloration

Y. Fundamental compounds of skin color

Z. Superficial changes on the applied cosmetic mixture

AA. Treatment of discoloration which enter the rouge area

BB. Transparent complexion coloring before cosmetising the discoloration

CC. Eye discoloration treatment

DD. Discolorations in hairlines

EE. Complete (or extensive) discolorations

2. Reproduction of natural shadows

3. Reproduction of beard shadow on males (as necessary)

4. Treatment of very dark discolorations

a. Cosmetic undercoats with a quick-drying liquid paint

b. First application of a lighter opaque cosmetic and powder before the second application of correct colors

5. Treatment of one area at a time

a. Base, rouge, and shadow concurrently

b. Obtain irregularity of coloring

6. Protective film for dense cosmetic and/or wax surfaces

b. Mortuary plastic spray

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