Studio

People and bench

A small studio with a steady hand.

One bench, four people and a simple rule: whoever makes your restoration is the one who picks up the phone.

The laboratory story

Ceram began with one conviction: a restoration should look as though it grew there. So we design on screen, mill in-house and finish every surface by hand.

We are deliberately small. Every case has one technician from scan to dispatch, so nothing is lost between departments and nobody has to explain a prescription twice.

What a practice needs from a laboratory is simple: work that seats, shades that match and a straight answer on the phone. We built the studio around those three things.

See selected work

Ceramist staining a small posterior restoration by brush at the bench — Fig. 01
Staining a posterior crown by brush

Stain bottles, three brushes and unglazed zirconia crowns laid out on the bench — Fig. 02
Stains, glazes and three good brushes

The last thing we do to every restoration is look at it properly.

Henrik Aldous - Founder

Craft

Three stages, one pair of hands.

Every restoration takes the same path through the studio, and the same technician walks it through.

Craft

Three stages, one pair of hands.

Every restoration takes the same path through the studio, and the same technician walks it through.

Technician modelling a restoration from a scan at a CAD workstation beside a desktop scanner — Fig. 03
Design preview on screen

Stage 01

Designed on screen

We model every case from your scan and send a preview, so margins, contacts and shape are agreed before a disc is cut.

Milling spindle cutting restorations from a zirconia disc — Fig. 04
Zirconia disc on the spindle

Stage 02

Milled in-house

Zirconia, PMMA and glass ceramic are cut on our own machines from the approved design, so timings stay in our hands.

Ceramist placing ceramic on a restoration with a fine brush, held on a stone model — Fig. 05
Ceramic placed by brush

Stage 03

Finished by hand

Staining, glazing and layering happen at the bench with a brush, and every piece is checked on a model before it is packed.

Team

The people who make your work.

Call the studio and one of these four will answer.

Team

The people who make your work.

Call the studio and one of these four will answer.

Founder, master ceramist

Henrik Aldous

Finishes every anterior case that leaves the bench.

CAD/CAM and milling lead

Marek Dolan

Designs your case on screen and keeps the mills cutting true.

Practice liaison

Maya Castell

Your first call. Books collections and chases the details so you do not have to.

Ceramist

Elena Sorel

Layers and stains by brush, matched to your shade photographs.

Facilities

Everything under one roof.

Four rooms, each built around one job.

Facilities

Everything under one roof.

Four rooms, each built around one job.

Milling room

Wet and dry milling for zirconia, glass ceramic and PMMA, cut from the same design files you approve.

Print room

Models, try-ins and guides printed from your scan, so every digital case can be checked on something you can hold.

Ceramics room

Furnaces, stains and layering powders kept clear of dust, where the surface work happens.

Photography bench

A black table, one light and a macro lens. Every restoration is photographed before dispatch.

Gloved hands finishing a milled zirconia disc under the lamp of a finishing cabinet — Fig. 06
A milled disc under the finishing lamp

Stone model held in a clamp under violet light — Fig. 07
A model on the checking stand

Talk to the bench

One number. A person who knows your case.

Ring before you prep, send a shade photograph or ask what a material will do. A conversation is the quickest way to a restoration you are happy to fit.

Work with us

See the digital workflow

Telephone

0117 496 0123

hello@ceram.example

Hours

Monday to Friday 8.00 to 17.30

Studio

Unit 7, Kiln Works, Bristol