Panduan
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 inlay. The artwork was generated with an image model, and we composited the card borders to standardize all 78 cards. This post is an honest 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 and sold a physical card 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 artwork, not the material.
The pearlescent sheen inside the cards is painted into the images, and the shimmering light when you tilt the cards on screen is a CSS effect. It’s not material reflecting light; it’s the screen making it look that way.
How the Artwork Was 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 in text, then selected the result that best matched the card’s meaning.
We composited the generated image into a card frame. By measuring the inner window coordinates, we cropped all 78 images to the same position and size, so even though the artwork varies per card, the border and margins stay consistent.
When recreating a card, we keep a record of what changed from the previous scene description. The prompt is the production log, and the resulting image is its output.
What We Borrowed 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 into the artwork.
Dancheong’s five directional colors served as a basis for dividing the card palette. We didn’t apply blue, red, yellow, white, and black directly but adjusted them to avoid oversaturation or dullness on screen.
We also drew on symbols from folk painting 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 jaket pendek, mantel panjang, 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 wrote distinct outfits for each card.
Some cards reference Rider-Waite-Smith iconography, while others keep the iconography but change only the background and clothing. The rule was simple: does the image convey the card’s meaning more accurately?
We don’t claim strict historical accuracy in clothing. We consult uigwe, paintings, and surviving artifact plates, but when sources disagree, we don’t force one as correct; we note which we used and why. Unverified elements remain as educated guesses.
Rules We Actually Followed
Only one symbol takes center stage per card. The nacre-like sheen is background; the figure and symbol are the protagonists. Each card’s scene description specifies clothing, background, and light source, and if the generated result deviates, we redo it.
Before publishing, code checks the text. It verifies word count, paragraph count, banned words, internal links, structured data, and the number and length of sentences in translations. This check is a guard against irrelevant text, not a guarantee of factual accuracy.
The card descriptions 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 image model’s limitations 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 on-screen shimmer is a visual effect, and it disappears in print.
The first version of this page included claims about recording humidity and drying times in a workshop. That wasn’t true, so we replaced the entire page on November 14, 2026. If you spot any incorrect statements, email info@aikorea24.kr, and we’ll verify and fix them.
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