案内
How This Deck Was Made — The Real Process Behind the Nacre-Like Digital Deck
Let me state this clearly from the start: the cards on this site are not physical objects made from cut and inlaid seashell. The images were created with an image generation model, and the card borders were composited to standardize all 78 cards to the same dimensions. This article is a record of that process and its limitations, without hiding anything.
What This Deck Is
It is a set of 78 digital cards. Each file is an 832×1248 JPEG, used for on-screen display and print previews. No physical card deck has ever been printed or sold.
It is not a piece of nacreous lacquerware. No seashell was ground or cut, no lacquer was applied, and no drying was managed. There is no workshop, no production notes, and no humidity logs. In this deck, 'nacre' refers not to a material but to the texture of the imagery.
The nacre-like sheen inside the cards is painted into the images themselves, and the shimmering light you see when you tilt the card on screen is a CSS effect. It is not a material reflecting light but a screen designed to look that way.
How the Images Were Made
For each card, I wrote a scene description in sentences and used an image generation model to create the image. I specified the figure's pose, gaze, attire, background terrain, and light direction in the text, then selected the result that best matched the card's meaning.
The generated image was composited into a card frame. I measured the coordinates of the inner window and cropped all 78 images to the same position and dimensions, so even though the artwork varies from card to card, the borders and margins remain consistent.
When recreating a card, I keep a record of what was changed from the previous scene description. The prompt is the production log, and the resulting image is the output of that log.
What Was Taken from Nacre and Dancheong
I referenced the patterns and light textures used in nacreous lacquerware, particularly from Tongyeong and Wonju. I did not replicate the craft process but translated the color flow and pattern density that appear when a finished nacre surface catches light.
The five colors of dancheong (traditional Korean decorative coloring) served as a basis for dividing the card palette. I did not apply blue, red, yellow, white, and black directly but adjusted them to avoid oversaturation or dullness on screen.
I also drew on the animal and plant symbols from minhwa (folk painting) and the Ten Symbols of Longevity. Motifs like the crane, deer, turtle, pine, and plum blossom were brought in as background elements for the cards.
Attire and Iconography
The clothing of the figures is based on late Joseon dynasty attire. I specified jeogori (jacket), dopo (overcoat), gat (hat), satgat (bamboo hat), and braided hair and shoes according to the card's status and situation. Since silhouettes vary by class and occupation even within the same era, I wrote distinct outfits for each card.
Some cards reference Rider-Waite-Smith iconography, while others keep the iconography but change only the background and attire. The criterion was simple: does the image convey the card's meaning more accurately?
I do not claim strict historical accuracy in attire. I consult uigwe (royal protocols), paintings, and surviving artifact plates, but when sources conflict, I do not force one as correct; instead, I note which option was used and why. Unverified elements remain as educated guesses.
Rules Actually Followed
Only one symbol is placed at the forefront per card. The nacre sheen serves as background, with the figure and symbol as the main focus. Each card's scene description specifies attire, background, and light source, and if the generated result deviates, it is redone.
Before publication, code checks the content. It verifies text length, paragraph count, prohibited words, internal links, structured data, and the sentence count and length of translated text. This check is a safeguard against sentences becoming irrelevant to the card, 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 publication. 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 may be flawed. Therefore, each card was generated multiple times and carefully selected.
Since this is not a physical material, colors do not actually shift with light angle. The on-screen shimmer is a visual effect, and it disappears when printed.
The initial version of this page contained a claim that humidity and drying times were recorded in a workshop. That was untrue, and the page was fully replaced on November 14, 2026. If you find any other false statements, please email info@aikorea24.kr, and I will verify and correct them.
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