指南
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 created with an image generation 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 is not a nacre lacquerware craft. No shell was ground or cut, no lacquer was applied, and no drying was managed. There is no workshop, no production notes, no humidity logs. In this deck, 'nacre' refers not to a material but to the visual texture of the artwork.
The nacre-like sheen inside the cards is painted into the images, and the shimmer you see when tilting the card on screen is a CSS effect. The material doesn't reflect light; the screen is drawn to look that way.
How the Artwork Was Made
For each card, I wrote a scene description in sentences and fed it to an image generation model. The sentences specified the figure's pose, gaze, attire, background terrain, and light direction. From the results, I selected the one 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 cards to the same position and size, so even though the artwork varies, 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 Was Taken from Nacre and Dancheong
I referenced the patterns and light textures used in nacre lacquerware, especially from Tongyeong and Wonju. This isn't a reproduction of the craft, but a translation of the color flow and pattern density that appears when a finished nacre surface catches light.
The five directional colors of dancheong (traditional Korean decorative coloring) served as a basis for dividing the card palette. I didn't apply blue, red, yellow, white, and black directly; I 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. Cranes, deer, turtles, pine trees, and plum blossoms—these long-used motifs appear as background elements in the cards.
Attire and Iconography
The figures' clothing is based on late Joseon dynasty attire. I specified jeogori (jacket), dopo (robe), gat (hat), satgat (bamboo hat), braided hair, and shoes according to each card's status and situation. Since even within the same era, silhouettes differ by class and occupation, I wrote distinct outfits for each card.
Some cards follow the Rider-Waite-Smith iconography, while others keep the iconography but change the background and attire. The criterion was simple: does the image convey the card's meaning more accurately?
I don't claim strict historical accuracy in attire. I refer to uigwe (royal protocols), paintings, and surviving artifact photos, but when sources conflict, I don't force one as correct; I note which I used and why. Unverified elements remain as educated guesses.
Rules 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 attire, background, and light source, and if the generated result deviates, I regenerate it.
Before publication, code checks the content: word count, paragraph count, forbidden terms, internal links, structured data, and the sentence count and length of translations. This check prevents the text from drifting away from the card, but it doesn't guarantee 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 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 each card was generated multiple times and carefully selected.
Since there's no physical material, colors don't actually shift with light angle. The on-screen shimmer is a visual effect; it disappears when printed.
The first version of this page included a claim that workshop humidity and drying times were recorded. That wasn't true, so I replaced the entire page on November 14, 2026. If you find any other false statements, email info@aikorea24.kr, and I'll verify and correct them.
親自抽抽看
把文章中讀到的圖像，這次放到你的問題上吧。同一張牌，問題不同，也會以不同的句子回應。