When the instruments with Camper's plane are used, to get the right compensation curves, Acry Plus NM must come into contact with the plane with well-defined cusps:
Positioning the 4th upper (14 or 24): contact of the vestibular cusp.
Positioning the 5th upper (15 or 25): contact between the vestibular cusp and the palatal cusp.
Positioning the 6th upper (16 or 26): contact between the mesiopalatal cusp and the mesiovestibular cusp. The distal-palatal cusp and distal-vestibular cusps will automatically remain slightly away from the plane, to give the right compensation curve ratio.
Positioning the 7th upper (17 or 27): will follow the curve of the sixth (16 or 26) and remain detached from the plane.
When the upper semi-arches are complete, the bottom arches can be positioned:
Positioning the 6th lower (36-46): contact between the triangular ridges of the mesiolingual and distal-lingual cusps and the ridge of the central-vestibular cusp with the mesiopalatal cusp of the upper.
Positioning the 5th (35-45): contact between the distal fossa and the palatal cusp of the upper.
Positioning the 4th (34-44): contact on the distal side of the vestibular
cusp with its own antagonist.
Positioning the 7th (37-47): contact between the triangular ridges of the mesiolingual cusps and distal-lingual cusps with at least one ridge of the two vestibular cusps.
When using instruments with Villain's cap, the diatonic teeth are assembled beginning with the lower teeth.
When doing this, the greatest number of contacts between Acry Plus NM and the cap should be obtained to give the right compensation curve ratio.
Positioning the 4th (34-44): contact between the vestibular cusp.
Positioning the 5th (35-45): contact between the lingual and vestibular cusps.
Positioning the 6th lower (36-46): contact between the lingual cusps and at least the mesiovestibular cusp.
Positioning the 7th (37-47): contact between the mesiolingual, distal-lingual cusps and at least the mesiovestibular cusp.