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Long leg cast for tibial fracture. A long leg cast extends from the upper thigh to the toes, immobilizing the knee joint as well as the lower leg and ankle. It is typically used for injuries requiring stabilization across multiple joints, such as tibial or fibular fractures, severe knee injuries, or post-surgical recovery.
The cast is molded to contour around the heel while abducting the forefoot against counter pressure on the lateral aspect of the head of the talus. The knee is flexed to 90° for the long leg component of the cast. The parents can soak these casts for 30–45 minutes prior to removal with a plaster knife.
Spica casts are used for treating hip dysplasia (developmental dislocation of hip). [1] [2] Spica casts are typically made using a soft padded lining, which tightly wrapped around the leg and hip joint. It is then wrapped in either a fiberglass or plaster cast. Fiberglass is generally preferred, as it is stronger than plaster and significantly ...
However, plaster of Paris casts take too long to fully dry and limits patient mobility for up to 74 hours — if the patient walks on the cast during this time, the shape will change, and the cast will not protect the foot and wound correctly. [10] Fiberglass casts were introduced in the 1980s or 1990s.
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The idea of using plaster of Paris was adopted and refined over the years and is still in use today by the medical profession. [10] When she completed her studies, Acheson taught at a school in London and continued to live in that city. She was the first woman, in 1938, to be elected a fellow of the Royal British Society of Sculptors. [11]
Elinor Jessie Marie Hallé CBE (1856 – 18 May 1926) was a British sculptor and inventor. She is known for her work on medals and for devising the idea of creating plaster casts as splints for broken limbs during the First World War.
When using plaster to cast a footprint, it is recommended to use a fixing agent to prevent the loss of detail when creating a plaster cast. These fixing agents include shellacs, glues, aerosol resins and hairsprays, which are sprayed liberally on the print before pouring the plaster of Paris into the impression. [5]