मार्गदर्शन
How This Deck Was Made — The Real Process Behind a Nacre-Like Digital Deck
Let’s be clear from the start: the cards on this site are not made from real shell inlays. The images were generated by an AI model, and the card borders were composited to standardize all 78 cards. This article is a transparent record of that process and its limitations.
What This Deck Is
It’s a set of 78 digital cards. Each file is an 832×1248 JPEG, used for on-screen display and print previews. We’ve never printed or sold a physical deck.
It’s not a nacre lacquerware craft. No shells were ground or cut, no lacquer was applied, and no drying was managed. There’s no workshop, no production notes, no humidity logs. In this deck, 'nacre' refers to the visual texture of the images, not the material.
The nacre-like sheen inside the cards is painted into the images, and the shimmer you see when tilting the screen is a CSS effect. It’s not material reflecting light; it’s the screen rendering that appearance.
How the Images Were Made
For each card, we wrote a scene description in sentences and fed it to an image generation model. We specified the figure’s pose, gaze, clothing, background terrain, and light direction, then selected the result that best matched the card’s meaning.
The generated images were composited into a card frame. We measured the inner window coordinates and cropped all 78 images to the same position and size, so even though the artwork varies, the borders and margins stay consistent.
When recreating a card, we keep track of what changed from the previous scene description. The prompt is the production record, and the resulting image is its output.
What We Drew from Nacre and Dancheong
We referenced the patterns and light textures used in nacre lacquerware, especially from Tongyeong and Wonju. We didn’t replicate the craft; we translated the color flow and pattern density of a finished nacre surface under light into the images.
Dancheong’s five colors (blue, red, yellow, white, black) served as a basis for dividing the card palette. We didn’t apply them raw but adjusted saturation so they wouldn’t look dull or garish on screen.
We also drew on the animal and plant symbols from minhwa and the Ten Symbols of Longevity. Cranes, deer, turtles, pine trees, and plum blossoms—these long-used motifs appear as background elements in the cards.
Clothing and Iconography
The figures’ clothing is based on late Joseon dynasty attire. We specified छोटी जैकेट, लंबा कोट, gat, satgat, braided hair, and shoes according to each card’s status and situation. Since silhouettes vary by class and occupation even within the same era, we noted the outfit for each card separately.
Some cards follow Rider-Waite-Smith iconography, while others keep the iconography but change the background and clothing. The criterion was simple: does the image convey the card’s meaning more accurately?
We don’t claim definitive historical accuracy in clothing. We reference uigwe, paintings, and extant artifact photos, but when sources differ, we don’t force one as correct; we note which we used and why. Unverified elements remain as educated guesses.
Rules We Actually Followed
Each card features only one symbol in the foreground. The nacre-like sheen is background; the figure and symbol are the protagonists. Every card’s scene description specifies clothing, background, and light source, and if the generated result deviates, we regenerate it.
Before publication, code checks the content. It verifies text length, paragraph count, banned words, internal links, structured data, and the number and length of sentences in translations. This check is a guard against irrelevant prose, not a guarantee of factual accuracy.
The card interpretations and this page’s text are drafted by AI, then fact-checked and edited by the operator before publishing. Card names, meanings, and translations are managed in locale-specific data files.
Limitations and Corrections
The limitations of the image generation model remain. Regenerating with the same description yields different results, and details like fingers, fabric patterns, or background elements can be distorted. That’s why we generated multiple times and selected the best.
Since this isn’t a physical material, colors don’t actually shift with light angle. The screen shimmer is a visual effect; it disappears in print.
The initial version of this page included a claim that we recorded humidity and drying times in a workshop. That wasn’t true, and we replaced the entire page on November 14, 2026. If you spot any other false statements, email info@aikorea24.kr, and we’ll verify and correct them.
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