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How This Deck Was Made — The Real Process Behind a Mother-of-Pearl 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 by an image model, and we composited the card borders to standardize all 78 cards. This article 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 screen display and print previews. We've never printed and sold a physical card deck.
It's not a nacre craft object. No shell was ground or cut, no lacquer was applied, and no drying was managed. There's no workshop, no production notes, and no humidity logs. In this deck, 'mother-of-pearl' refers to the visual texture of the artwork, not the material.
The pearlescent sheen inside the cards is painted into the image itself, and the shimmer you see when tilting the card on screen is a CSS effect. It's not material reflecting light; it's the screen rendering that appearance.
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 results 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 per card, the border and margins remain 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 Took from Mother-of-Pearl and Dancheong
We referenced the patterns and light textures used in nacre lacquerware, especially from Tongyeong and Wonju. We didn't replicate the craft process; instead, we translated the color flow and pattern density of a finished nacre surface under light into the artwork.
Dancheong's five cardinal 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 the animal and plant symbols from folk painting and the Ten Symbols of Longevity. Motifs like cranes, deer, turtles, pine trees, and plum blossoms—long-used emblems—were incorporated as background elements.
Costume and Iconography
The figures' clothing is based on late Joseon dynasty attire. We specified jeogori, dopo, gat, satgat, braided hair, and shoes according to each card's status and situation. Since silhouettes differ by class and occupation even within the same era, we detailed the outfit for each card.
Some cards follow Rider-Waite-Smith iconography, while others keep the iconography but change the background and costume. The criterion was simple: does the image convey the card's meaning more accurately?
We don't claim definitive costume accuracy. We reference historical documents, paintings, and surviving artifacts, but when sources conflict, 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 central symbol. The mother-of-pearl sheen serves as background; the figure and symbol are the protagonists. For every card, we specify costume, background, and light in the scene description, and if the generated result deviates, we redo 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 safeguard 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 publication. Card names, meanings, and translations are managed in locale-specific data files.
Limitations and Corrections
The limitations of the image generation model remain. Recreating the same description yields different results, and details like fingers, fabric patterns, or background elements can be distorted. That's why we generated multiple versions per card and selected the best.
Since there's no 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 a claim about recording humidity and drying times in a workshop. That was false, and we replaced the entire page on November 14, 2026. If you find any other incorrect statements, please email info@aikorea24.kr, and we'll verify and correct them.
Kendiniz Çekin
Yazılarda okuduğunuz resmi bu kez kendi sorunuzun üzerine koyun. Aynı kart, farklı sorularda farklı cümlelerle döner.