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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 inlays. The artwork was generated with an image model, and the card borders were composited 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 on-screen display and print previews. No physical card deck has ever been printed or sold.
It’s not a mother-of-pearl 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, 'mother-of-pearl' refers to the visual texture of the artwork, not the material.
The pearlescent sheen inside the cards is painted into the images, 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, I wrote a scene description in sentences and fed it to an image generation model. I 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.
The generated images were composited into a card frame. I 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 borders and margins stay consistent.
When recreating a card, I keep track of what changed from the previous scene description. The prompt is the production record, and the resulting image is its output.
What I Took from Mother-of-Pearl and Dancheong
I referenced the patterns and light textures used in mother-of-pearl lacquerware, especially from Tongyeong and Wonju. I didn’t replicate the craft process; instead, I translated the color flows and pattern density of a finished nacre surface into the artwork.
Dancheong’s five directional colors—blue, red, yellow, white, and black—served as a basis for dividing the card palette. I didn’t apply them raw but adjusted saturation to avoid dull or garish tones on screen.
I 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. I specified jeogori and dopo, gat and 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, I detailed the outfit for each card.
Some cards follow Rider-Waite-Smith iconography, while others keep the iconography but change the background and clothing. The rule was simple: does the image convey the card’s meaning more accurately?
I don’t claim strict historical accuracy in clothing. I reference uigwe, paintings, and surviving artifact plates, but when sources conflict, I don’t force one as correct; I note which I used and why. Unverified elements remain as informed guesses.
Rules I Actually Followed
Each card features one central symbol. The mother-of-pearl sheen is background; the figure and symbol are the focus. For every card, the scene description specifies clothing, background, and light source, and if the generated result deviates, I regenerate it.
Before publication, code checks the text: word count, paragraph count, banned words, internal links, structured data, and the number and length of sentences in translations. This check prevents the text from drifting away from the card, but it doesn’t guarantee factual accuracy.
The card interpretations and this page’s text are drafted by AI, then fact-checked and edited by me 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 prompt yields different results, and details like fingers, fabric patterns, or background elements can be flawed. That’s why I 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; 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, and I replaced the entire page on November 14, 2026. If you spot any other false statements, email info@aikorea24.kr, and I’ll verify and correct them.
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