JohnWilson
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Thanks for the nice words guys and Charles your a nut I love ya man, and yes RKM your right my photography skills SUCK 
I am too busy making money to actually care HAHAHAH.
Very little external stain on the bigger cases make up for not doing cutbacks, it also allows you not to be forced to hit a shade guide bang on perfect with out a bunch of snaggles around you to much things up
This case was done with Zeno-light and colorized strategically with ZZ acids stains, we are still using Zeno acid as well but I have been having fun with the ZZ and developing a brush count system that seems to be working. I can tell you I am NOT following ZZ suggestions.
Some tips that were pointed out very skillfully from Charles was more dumb luck than anything else. We do try and give a transition from light to dark on the line angles and from mesial to distill as the restorations go posteriorly. We use Zeno art module stains as well as there frit glaze and then we rubber wheel the line angles and felt wheel with tin oxide to get a special surface effect I like.
When you start with a shaded disk and you looking to give depth with Acid stains less is more a lot of times, just breaking up the monochromatic color and doing some light transitions is what make these things work with out having to layer a ton of glass to make them look good.
A normal case like this we would to a micro cutback just to layer incisal and some internal stain but this case was requested to be mono.
I am too busy making money to actually care HAHAHAH.Very little external stain on the bigger cases make up for not doing cutbacks, it also allows you not to be forced to hit a shade guide bang on perfect with out a bunch of snaggles around you to much things up
This case was done with Zeno-light and colorized strategically with ZZ acids stains, we are still using Zeno acid as well but I have been having fun with the ZZ and developing a brush count system that seems to be working. I can tell you I am NOT following ZZ suggestions.
Some tips that were pointed out very skillfully from Charles was more dumb luck than anything else. We do try and give a transition from light to dark on the line angles and from mesial to distill as the restorations go posteriorly. We use Zeno art module stains as well as there frit glaze and then we rubber wheel the line angles and felt wheel with tin oxide to get a special surface effect I like.
When you start with a shaded disk and you looking to give depth with Acid stains less is more a lot of times, just breaking up the monochromatic color and doing some light transitions is what make these things work with out having to layer a ton of glass to make them look good.
A normal case like this we would to a micro cutback just to layer incisal and some internal stain but this case was requested to be mono.
