指南
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 images were created with an image generation model, and the card borders were composited to standardize all 78 cards. This article is a record of that process and its limitations, without hiding anything.
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. We’ve never printed and sold a physical deck.
It’s not a piece of nacreous lacquerware. No shells were 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 not to a material but to the visual texture of the images.
The pearlescent sheen inside the cards is painted into the images, and the shimmer you see when tilting the screen is a CSS effect. It’s not material reflecting light; it’s the screen rendering that appearance.
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 pose, gaze, attire, background terrain, and light direction in 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 to the same position and size, so even though the artwork varies per card, the borders and margins stay consistent.
When recreating a card, we keep notes on 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; instead, we translated into images the color flows and pattern densities that appear when a finished nacre surface catches light.
Dancheong’s five colors (blue, red, yellow, white, black) served as a basis for dividing card colors. We didn’t apply them raw but adjusted saturation to avoid dead or garish tones on screen.
We also drew on folk painting and the Ten Symbols of Longevity. Motifs like cranes, deer, turtles, pine trees, and plum blossoms—long-used symbols—were incorporated as background elements.
Attire and Iconography
The figures’ clothing is based on late Joseon attire. We specified jeogori and dopo, gat and satgat, braided hair, and shoes according to each card’s status and situation. Since silhouettes vary by class and occupation even within the same era, we noted the dress separately for each card.
Some cards reference Rider-Waite-Smith iconography, while others keep the iconography but change only the background and attire. The rule was simple: does the image convey the card’s meaning more accurately?
We don’t claim strict historical accuracy in dress. We consult uigwe, paintings, and extant artifact photos, but when sources differ, 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 symbol in the foreground. The mother-of-pearl sheen is background; the figure and symbol are the protagonists. For every card, the scene description specifies attire, background, and light source, and if the generated result deviates, we redo it.
Before publication, code checks the content. It verifies text length, paragraph count, forbidden words, internal links, structured data, and the sentence count and length of translations. This check is a guard against irrelevant text, not a guarantee of factual accuracy.
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 we generated multiple times per card and selected the best.
Since there’s no physical material, colors don’t actually shift with light angle. The screen shimmer is a visual effect and disappears in print.
The first version of this page included a claim about recording humidity and drying times in a workshop. That wasn’t true, and we replaced the entire page on November 14, 2026. If you spot any incorrect statement, email info@aikorea24.kr, and we’ll verify and fix it.
亲自抽一张
把文章中读到的画面，这次放到你的问题中试试。同一张牌，问题不同，会以不同的语句回应。