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How This Deck Was Made: The Real Process Behind the Nacre-Grained Digital Deck
Let’s be clear from the start: the cards on this site are not physical objects made by cutting and inlaying shell. 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 an honest record of that process and its limitations.
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. We have never printed and sold a physical card deck.
It is not a mother-of-pearl lacquerware craft. No shell 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, and the light that shifts as you tilt the card on screen is a CSS effect. The material does not reflect light; the screen is drawn to appear that way.
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 posture, gaze, attire, background terrain, and light direction in the text, then selected from the results the one 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 from card to card, the borders and margins remain 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 the output of that record.
What We Took from Nacre and Dancheong
We referenced the patterns and light textures used in mother-of-pearl lacquerware, especially from Tongyeong and Wonju. We did not replicate the craft process; instead, we translated the color flow and pattern density that appears when a finished nacre surface catches light into the imagery.
The five colors of dancheong (blue, red, yellow, white, and black) served as a basis for dividing the card palette. We did not apply them raw; we adjusted saturation to avoid dull or garish tones on screen.
We also drew on the animal and plant symbols of minhwa and the Ten Symbols of Longevity. Cranes, deer, turtles, pines, and plum blossoms—long-used motifs—were incorporated as background elements in the cards.
Attire and Iconography
The figures’ clothing is based on late Joseon dynasty dress. We specified jeogori and dopo, gat and satgat, braided hair, and footwear according to each card’s status and situation. Since even within the same era, silhouettes differ by class and occupation, we noted the attire separately 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?
We do not claim definitive costume research. We reference uigwe, paintings, and extant artifact plates, but when sources differ, we do not force one as correct; we record which we used and why. Unverified elements remain as conjecture.
Rules We Actually Followed
Only one symbol is foregrounded per card. The nacre sheen serves as background; the figure and symbol are the protagonists. Each card’s scene description specifies attire, background, and light source, and if the generated result deviates, we regenerate it.
Before publication, code checks the content: text length, paragraph count, forbidden words, internal links, structured data, and the number and length of sentences in translations. This check is a safeguard against sentences becoming irrelevant to the card, not a guarantee of factual accuracy.
AI drafts the card interpretations and this page’s text, but the operator performs fact-checking and editorial review 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 distorted. That is why we generated multiple times and selected carefully.
Since these are not physical materials, the colors do not actually shift with light angle. The shimmer on screen is a visual effect; it disappears when printed.
The initial version of this page contained statements about recording humidity and drying times in a workshop. That was untrue, and we replaced the entire page on November 14, 2026. If you find any other incorrect statements, please email info@aikorea24.kr, and we will verify and correct them.
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