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Mors 200 Final- Sciences > Klicker-Restorative art Pages 45 to 88 > Flashcards

Klicker-Restorative art Pages 45 to 88 Flashcards

1
Q

The outer rim of the ear has the general shape of a question mark. It begins superior to the lobe and ends by attaching to the cheek.

A

Helix

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2
Q

The fossa between the inner and outer rims of the ear. It is the shallowest depression of the ear.

A

Scapha

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3
Q

The inner rim of the ear. It starts at the superior border of the lobe and continues upward until it ends by becoming the crura. It forms the superior and posterior walls of the concha.

A

Antihelix

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4
Q

The superior and anterior bifurcating branches of the antihelix.

A

Crura

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5
Q

Depression between the crura. The second deepest depression of the ear.

A

Triangular Fossa

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6
Q

Concave shell of the ear; the deepest depression of the ear located posterior and superior to the ear passage.

A

Concha

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7
Q

An elevation protecting the ear passage. Arises from the posterior margin of the lateral cheek.

A

Tragus

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8
Q

A small eminence obliquely opposite the tragus. Located on the superior border of the lobe of the ear.

A

Antitragus

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9
Q

A notch or opening between the tragus and the antitragus of the ear.

A

Intertragic Notch

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10
Q

Inferior fatty 1/3 of the ear; most inferior part of the ear. Attaches to the cheek.

A

Lobe

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11
Q

The origin of the helix that is flattened and ends in the concha

A

Crus

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12
Q

A classification given to a nose that is long, narrow, and high bridged; Common to individuals of Western Europe descent.

A

Leptorrhine

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13
Q

A classification given to a nose that is short, broad, and has a minimum of projection; Common to individuals of African descent.

A

Platyrrhine

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14
Q

A classification given to a nose that is medium broad and medium low bridged; Predominant among people of Asian descent.

A

Mesorrhine

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15
Q

Grecian, characterized as straight from tip to root.

A

Straight

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16
Q

Roman, aquiline, or hooked. Curved, as the beak of an eagle, a nose that has a hook as seen from a profile; may exhibit a hump in the bridge.

A

Convex

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17
Q

Snub, pug, infantine, or retrousse. Characterized by a dip in the bridge and turned up at the end.

A

Concave

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18
Q

The paired nasal bones are inferior to the glabella, forming a dome over the superior portion of the nasal cavity.

A

Nasal Bones

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19
Q

The orifice in the bony face bounded by the margins of the nasal bones and the maxilla.

A

Nasal Cavity

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20
Q

The sharp, bony projection located medially at the inferior margin of the nasal cavity. This indicates the bony length of the nose.

A

Nasal Spine of the Maxilla

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21
Q

Septum and superior lateral cartilage

A

Major cartilages

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22
Q

The prominent organ of smell located in the center or middle 1/3 of the face. It is the beginning of the respiratory tract and is triangular or pyramidal in shape.

A

Nose

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23
Q

The anterior protruding ridge of the nose extending from root to tip. It includes the bridge.

A

Dorsum

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24
Q

The apex (top) of the pyramidal mass of the nose, which lies directly inferior to the forehead. The concave dip inferior to the forehead.

A

Root

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25
Q

Dome over the nasal cavity. Point of greatest projection. The arched portion of the nose supported by the nasal bones.

A

Bridge

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26
Q

Lateral lobes of the nose. The widest part of the nose bordered by the nasal sulcus and the anterior nares.

A

Wings

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27
Q

The fleshy termination of the nasal septum at the base of the nose located between the nostrils. The most inferior part of the nose.

A

Columna Nasi

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28
Q

External nostril openings

A

Anterior Nares

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29
Q

Lateral walls of the nose located between the wings of the nose and bridge. They recede laterally from the dorsum.

A

Sides of the nose

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30
Q

The rounded anterior projection of the tip of the nose.

A

Protruding Lobe of the Nose

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31
Q

A state of being twisted or pushed out of natural shape or position. Nose may be twisted from its normal alignment by cancer of the cheek, by superficial pressure or by fractures.

A

Nasal Distortion

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32
Q

Types of Nasal Distortions:

A
  • Distortion by Cancer
  • Distortion by Superficial Pressure
  • Distortion by Fracture
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33
Q

The result of a feeding tube, endotrachial tube, or other medical device that was in the nares for an extended length of time.

A

Erosion of Nasal Tissue

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34
Q

The cavity in which mastication takes place. The beginning of the alimentary canal.

A

Mouth

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35
Q

Projection of the jaw or jaws

A

Prgnathism

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36
Q

Types of Prognathism:

A
  • Maxillary
  • Mandibular
  • Dental (Buck Teeth)
  • Alveolar
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37
Q

The superior jaw (maxillary) protrudes

A

Maxillary Prognathism

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38
Q

The inferior jaw (mandible) protrudes

A

Mandibular Prognathism

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39
Q

Oblique insertion of the teeth; front teeth protrude

A

Dental (Buck Teeth) Prognathism

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40
Q

Sockets of the teeth are inclined.

A

Alveolar Prognathism

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41
Q

The area between the base of the nose and the superior margin of the superior mucous membrane

A

Superior Integumentary Lip

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42
Q

That area between the inferior margin of the inferior mucous membrane and the mental eminence.

A

Inferior Integumentary Lip

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43
Q

The visible red surfaces of the lips; the lining membrane of the body cavities that open to the exterior.

A

Mucous Membrane

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44
Q

The upper margin has the shape of the classic hunting bow. The medial lobe is found in the center of the membrane. Narrows laterally as it disappears before reaching the end of the line of closure. Contains two high peaks slightly off center ib either side of a dipping curve.

A

Superior Mucous Membrane AKA Upper Lip

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45
Q

Is thicker than the superior mucous membrane. Lies posterior to the upper mucous membrane.

A

Inferior Mucous Membrane AKA Lower Lip

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46
Q

The line of color change at the junction of the wet and dry portions of the mucous membranes. The area where adhesive is applied to keep the lips closed.

A

Weather Line

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47
Q

The tiny prominence on the midline of the superior mucous membrane.

A

Medial Lobe

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48
Q

The line that forms between the two mucous membranes when the mouth is closed and the lips come in contact with each other. Usually located at the lower border of the upper teeth. Has the shape of the classic hunting bow.

A

Line of Closure

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49
Q

The vertical groove located on the superior integumentary lip. The width, form, and depth are different from person to person.

A

Philtrum

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50
Q

The groove at the end of the line of closure.

A

Angulus Oris Sulcus

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51
Q

Fine vertical lines located on the mucous membrane.

A

Vertical lines of the mucous membrane

52
Q

The vertical furrows on the lip extending from within the mucous membranes into the integumentary lips.

A

Labial Sulci

53
Q

The organ of vision, which occupies the anterior part of the orbital cavity.

A

Eye

54
Q

The upper lid is wider than the lower lid. Vertically, it is nearly 3 times as large as lower lid. When naturally closed, it covers the cornea. The lower margin is what forms the line of eye closure. The point of greatest projection for the closed eye is just off center medially.

A

Superior Palpebrae AKA Upper Eyelid

55
Q

The lower lid is narrower and thinner than the upper lid. It follows the curve of the eyeball and inclines from the line of closure. The upper lid overlaps the lower lid at the lateral end of the lower lid.

A

Inferior Palpebrae AKA Lower Lid

56
Q

The line that forms between the two eyelids when they are closed, and which marks their place of contact with each other. Occurs in the lower third of the eye socket as a dipping curve. The upper lid covers 2/3 and the lower lid covers 1/3. The lateral end is inferior and posterior to the medial end. The two lids abut when they close and do not overlap.

A

Line of Eye Closure

57
Q

A triangular concave depression superior to the medial portion of the superior palpebrae.

A

Nasal Orbital Fossa

58
Q

Region between the supercilium and the superior palpebrae. Composed of muscle and fat, it is deepest near the root of the nose.

A

Superior Orbital Area

59
Q

Small elevation extending medially and obliquely from the medial corner of the superior palpebrae. There are no eyelashes here.

A

Inner Canthus

60
Q

Eyelashes

A

Cilia

61
Q

Eyebrows

A

Supercilium; Grows upwards and outwards and is unequal in length

62
Q

The groove or furrow of the superior borer of the superior palpebrae- an acquired facial marking

A

Superior Palpebral Sulcus

63
Q

The groove or furrow of the inferior border of the inferior palpebral- an acquired facial marking

A

Inferior Palpebral Sulcus

64
Q

The furrows radiating laterally from the lateral corner of the eye- an acquired facial marking

A

Optic Facial Sulci AKA Crow’s Feet

65
Q

The shallow, dark, curving groove below the medial corner of the eyelid. It moves inferior and laterally-a natural facial marking.

A

Oblique Palpebral Sulcus

66
Q

The superior rim of the eye socket located on the frontal bone.

A

Supraorbital Margin

67
Q

Today, restorative waxes must be able to:

A
  • Adhere to tissue
  • Be pliable at room temperature
  • Be able to take cosmetics and reflect light in a manner similar to normal skin
68
Q

Four types of restorative waxes:

A
  • Firm Wax
  • Medium Wax
  • Soft Wax
  • Lip Wax
69
Q

Firm Wax

A

AKA Wound Filler; Used to fill large cavities or model features; Used to recreate the nose or ear; fills cavities to within approximately one-quarter inch from the surface.

70
Q

Medium Wax

A

AKA Derma Surgery; This medium-firm wax is used as a restorative wax; softer than firm wax and is used as a substitute; Adheres to the tissue and will hold its shape once molded; can be easily softened by manipulation in the hand or with a blow dryer; when warmed, it can be smoothed to a very fine layer, which makes it suitable for shallow surface restoration.

71
Q

Soft Wax

A

AKA Surface Restorer; This soft, pliable wax is used to fill shallow depressions; Can be applied in a very thin layer; Repairs minor abrasions, razor burns, suture incisions, and as the surface layer of wax in a deep cavity repair; quite often used as lip wax; used to seal puncture sites due to hypodermic building.

72
Q

Lip Wax

A

It is a soft wax that is usually tinted. This is used to correct lip separations and surface the mucous membrane; This is the most adhesive of the waxes; usually translucent but is tinted in various warm hues.

73
Q

What is the ideal waiting time to apply wax?

A

Between 8 and 10 hours after the embalming procedure.

74
Q

Methods of combining cosmetics and wax:

A
  • Cosmetics under wax
  • Cosmetics mixed with wax
  • Cosmetics over wax
75
Q

Cosmetics Under Wax

A

The cosmetics must be liquid, spray, or water-based cream- these will dry sufficiently to allow wax to be applied over the cosmetic, whereas an oil-based cream will not. Once the undercoat has thoroughly dried, a surface restorative wax is applied over the undercoat.

76
Q

Cosmetics Mixed with Wax

A

Liquid or cream cosmetics can be mixed with wax to match a person’s complexion color; Important to begin with the lighter color first and then add more cosmetics.; Once the skin tone match is made, the wax is applied to the tissue, and the skin texture is created. An application of an opaque cosmetic is then lightly blended over the wax surface to match the complexion color.

77
Q

Cosmetics Over Wax

A

This is the most common technique used to apply a cream cosmetic over the wax. The restorative wax is applied to the traumatized area and then the cosmetics are lightly brushed over the wax.

78
Q

How to soften wax:

A
  • Manipulate by kneading in the palm of the hand
  • Add a cream cosmetic or massage cream
  • Placing the wax in warm water
  • Holding the wax under a blow dryer
79
Q

How to firm wax:

A
  • Place the wax in the refrigerator
  • Mix the wax with cornstarch
  • Mix the wax with talcum powder
80
Q

Wax Restoration

A
  • Tissue must be dry and firm prior to the application
  • Moist tissue or tissue that is not thoroughly embalmed will inhibit the ability of the wax to adhere to the surface and impair restoration.
81
Q

Methods for firming tissues:

A
  • Hypodermic injection
  • Surface compress with cavity fluid
  • Arterial Fluid or phenol cauterizing solution
82
Q

In order to model an appropriate restoration:

A

the size and form of the feature must be accurate as well as it’s location.

83
Q

The size of a feature involves 3 dimensions:

A
  • length
  • width
  • projection
84
Q

Length of a feature:

A

Vertical Measurment

85
Q

Width of a feature:

A

Horizontal Measurment

86
Q

The most difficult part of the feature to recreate:

A

Projection

87
Q

First thing that must be done before beginning to model a feature:

A

Measure the desired length and width and then mark on the modeling material or work surface.

88
Q

Correct Measurments:

A

It is imperative that the practitioner obtain accurate measurements of the feature that is to be restored.

89
Q

Once the measurements have been obtained…

A

they must be maintained if the restoration is to be accurate.

90
Q

During the modeling…

A

the practitioner should measure the feature frequently to ensure the accurate dimensions are being maintained.

91
Q

How does the practitioner find the shape of the profile?

A

By simply observing it carefully and paying careful attention

92
Q

Prior to recreating the profile, the practitioner should:

A

Note the width of the feature; select the appropriate thickness of wax; take accurate measurements of the most prominent points of projection, and then the measurements can be transferred to the modeling medium.

93
Q

Varied and Distant Viewing:

A

The practitioner should look at the restoration from a number of different angles as the modeling progresses and stand back from the restoration and check for accuracy.

94
Q

Working intently from a single view will often result in:

A

Distortion of the feature or restoration.

95
Q

Working in close proximity will result in:

A

Distortion

96
Q

Early phase of the restoration is concerned with:

A

achieving accurate dimensions

97
Q

Surfaces of Restoration:

A

Can be smoothed by using a solvent and brush after the feature has achieved its desired form and dimension.

98
Q

Introduction to surface detail and contour will make it look:

A

more realistic

99
Q

The greatest fault of waxing:

A

Flatness; It is important to recreate pores, wrinkles, and furrows

100
Q

Value of Rest Periods

A

A brief period of rest from the restoration can help refresh the practitioner’s perspective as well as their ability to produce an accurate feature.

101
Q

Methods of Attaching a Mouth:

A
  1. Basket weave suture

2. Wax

102
Q

Methods of Attaching and Ear:

A
  1. Basket weave suture
  2. Loop stitch
  3. Bent wire armature
  4. Wax support
103
Q

Methods of Attaching a Nose:

A
  1. Basket weave suture
  2. Wire armature
  3. Cardboard armature
  4. Wax
  5. Plaster of Paris and cotton
  6. Wire screen
104
Q

Methods of Attaching an Eye:

A
  1. Basket weave suture

2. Wax

105
Q

The conditions that require extensive restorative art procedures may be caused by:

A
  • Injuries/ Trauma
  • Disease
  • Postmortem tissue changing
106
Q

When can restorative art procedures be done?

A

Before, during, or after embalming.

107
Q

Pre-embalming Treatments:

A
  • Removing dirt and external stains from the body
  • Setting the facial features
  • Temporarily suturing loose flaps of skin
  • Shaving (some embalmers prefer to do this after embalming)
108
Q

During Embalming

A
  • Application of pressure to an area to prevent swelling

- Bleaching a discolored area (some embalmers prefer to do this after embalming)

109
Q

After Embalming

A
  • Excising Tumors
  • Reducing Swelling
  • Tissue Building in sunken areas
  • Drying and suturing incisions
  • Applying wax
  • Applying cosmetics
  • Hairstyling
110
Q

Facial Treatments

A
  • Shave the face of both young and old males and females
  • Pluck or cut nose and ear hair
  • Reduce blackheads, whiteheads, and pustules carefully by squeezing with a tissue or other soft paper product.
111
Q

Closing the mouth

A
  • use dentures if the family provides them (gives a more natural look)
  • Mouth formers need to be cut to fit the individual
  • Needle injector or ligature can be used to hold the maxilla and mandible together
112
Q

What is the first feature a family notices when looking at the deceased?

A

The mouth

113
Q

Eye Closure

A
  • Should always be in the lower 1/3 of the bony orbit
  • Do not overlap the eyelids
  • Eye caps are not “one size fits all”- Trim them to fit the individual
114
Q

Ears

A

Earlobes should have cotton placed behind them to keep them from drooping.

115
Q

Antemortem injury resulting from friction of the skin against a firm object resulting in the removal of the epidermis; Can be small and shallow or deep and extensive depending on the manner in which they occurred.

A

Abrasion

116
Q

A wound or irregular tear of the flesh

A

Laceration

117
Q

A crust over a sore or wound

A

Scab

118
Q

A soft, white, oily preparation resembling cream and used as a protective coating for external tissue; a base for cream cosmetics; and wax softener.

A

Massage Cream

119
Q

A surgical instrument with 2 opposing blades used to grasp or hold tissue or material.

A

Forceps

120
Q

A surgical knife with a short blade

A

Scalpel

121
Q

The outermost layer of skin

A

Epidermis

122
Q

Any visible surface that is to remain uncovered or unclothed.

A

Exposed Area

123
Q

Minute depressions in the surface of skin; as the opening of the sweat glands.

A

Pores

124
Q

What determines the amount of dehydration that has occurred?

A

The interval between the time of death and the time the embalmer receives the remains. The longer the time, the more dehydration.

125
Q

Treatments of Abrasions: Before Embalming

A

The area around the abrasion should be covered with massage cream; the cream should not be directly applied because the embalmer wants the area to become firm and dry. The massage cream around the abrasion will keep the area from dehydrating during embalming.

126
Q

Treatments of Abrasion: After Embalming

A

Scabs should be removed; the area should be dried using a cauterizing agent, then dried with cotton and sealed with a sealer. When dried, wax or mastic can be applied. Cosmetics will need to be applied over the wax.

Mors 200 Final- Sciences (87 decks)

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