D06 / SUPPLIED BRAND PRESENTATION
The studio behind the objects
English evidence index for the supplied Qingshan Zhiyu presentation. Page references refer to the original PDF. Awards, media appearances, partnerships and credentials are company-presented claims. They do not establish overseas product or logo permissions.
BACK TO CASE STUDY →
B01 / PAGES 1–7
A company with three complementary capabilities
The presentation introduces Qingshan Zhiyu and three brands: Chaowenwu, focused on self-developed cultural products and owned IP; TOYSARK, combining retail, learning experiences, events and manufacturing; and SMALLYY STUDIOS, producing product photography, event imagery, promotional films, music videos and advertising.
Page 3 identifies founder Zeng Zhou as the company founder, Chaowenwu and TOYSARK principal, and a model-sector leader within the Chengdu animation / gaming association. The presentation lists creative awards, a Xinhua “New Youth” feature, participation connected with the Chinese embassy and cultural center in Amman, and an advisory role at Tianfu International Animation City. Page 4 introduces art director Xie Bin (Apple), with CG-art and game-project experience. Page 5 introduces SMALLYY’s directing, photography, social-content and award credentials. Page 7 displays partner logos.
DESIGN USE A concise “Who makes this?” story can draw on the team’s actual capabilities. Verify public-facing credentials and permissions before reuse.
B02 / PAGES 8–17
Three Star Mound-derived storytelling and past product work
The Ten Suns Myth / Sacred Tree / Sun Bird presentation connects the bronze sacred tree to mythological trees, birds, sun cycles and the Chengdu Plain. It describes the three-level, nine-branch tree and different interpretations of a tenth sun bird. These are cultural narratives in the brand material, not archaeological conclusions established by this project.
Fuyou Duidui draws on the gold-masked bronze head and a ritual figure. The presentation lists design awards, copyright selections, exhibition appearances and television / media exposure, including Xinhua-related coverage. Pages 15–17 show media, award and character applications.
DESIGN USE Demonstrates how a physical object can be connected to a story. Do not imply that domestic derivative rights or media exposure authorize overseas sales.
B03 / PAGES 18–26
The stone rhinoceros as an everyday Chengdu character
The stone-rhinoceros collection combines the museum reference with tea, hotpot, mahjong and Chengdu’s slower everyday rhythms. The presentation frames contemporary toys as a way to share cultural beauty. It lists awards across 2020–2022, a 2021 copyright selection, event-gift roles, a Sydney cultural-center exhibition and an Amman / Jordan connection. Page 22 presents a Jordan-inspired black-iris edition. Pages 23–26 extend the IP into bookmarks, badges, stickers, character illustrations, fans and keychains.
DESIGN USE Everyday scenarios and adaptations can make heritage approachable. International sales eligibility still follows the separate rights discussion in F5.
B04 / PAGES 27–33
Mangmang Panda Eats Mangmang
The product pages show a playful panda combined with food references, individual product views, a series lineup and promotional lifestyle imagery. The hero artwork used in this case is a crop of the supplied page 27 product image.
DESIGN USE A visually recognizable panda and an everyday food reference can anchor the introductory collection. The case treats cross-cultural accessibility as the founder’s rationale and a testable design hypothesis, not measured international acceptance.
B05 / PAGES 34–43
A broader product-design portfolio
Pages 34–35: Chinese Balance Rhythm pieces. Pages 36–37: Chengdu Smile / Pixel World building blocks. Pages 38–39: Journey to the West character collectible cards. Pages 40–41: a pottery-performer-inspired pickle jar. Page 42: He’s Still a Kid, first-generation series. Page 43: a duel-card project.
DESIGN USE Evidence of product variety, not an approved North American launch catalog. Fulu Fortune is documented separately through the supplementary presentation and product images in B10.
B06 / PAGES 44–49
TOYSARK: retail, making and participation
The presentation describes Tianfu International Animation City in Chengdu’s Chenghua district near Zhaojue Temple and its development / operating plans. TOYSARK is positioned as a broad art-toy space encompassing display, sales, design, production, family activities and art discovery. It describes 3D facial scanning for personalized figures. Pages 46–49 show model competitions, exhibitions and planned / executed events, including creative-design weeks, model contests, themed events, workshops and museum-related figure-making activities.
DESIGN USE Supports a studio-capability story and a participation concept. Offline scanning capability does not prove a finished online 3D editor or an automated production pipeline.
B07 / PAGES 50–57
Custom work for organizations and collaborators
Examples include Shaolin Temple souvenirs; REMEFIT × Couple Hunnid music-video props; a village-promotion figure; souvenirs for an Aba cultural-tourism event; Everest-themed character costumes; corporate plush gifts; barbecue-brand IP; China Post’s Panda Post Office figures; an ISY music-festival character; blind boxes; and an iQIYI-related character project.
DESIGN USE Supports a separate assisted-quote or volume-inquiry route. Past custom work should not imply that every pictured character can be sold to the public internationally.
B08 / PAGES 58–66
SMALLYY STUDIOS: visual production
The studio introduction is followed by official product images, animatronics, GK statues and exhibition-scene photography. These pages demonstrate how materials, detail and atmosphere can be communicated through imagery.
DESIGN USE Commission consistent product close-ups, scale references and studio-process imagery for the website; existing client images require appropriate reuse permission.
B09 / PAGES 67–80
Film, music and live-event content
Pages 67–70 show promotional-film work; pages 71–74 show music-video projects; pages 75–78 show live performances; page 79 shows promotional imagery; page 80 closes the presentation.
DESIGN USE The company has a visual-content capability that could support short making-of stories and shareable product introductions. The presentation does not supply website analytics, North American interviews or evidence of conversion impact.
B10 / SUPPLEMENTARY PRODUCT SOURCES
Fulu Fortune / source alias: Fulu Gungun
SUPPLIED MATERIAL
The Fulu Gungun · Tianfu Intangible Cultural Heritage presentation, three lineup images and ten individual character images supplied by the client inform the second flagship collection.
DESIGN USE
Homepage promotion, collection browsing and individual product pages use the supplied character and inspiration imagery. Fulu Fortune is an editorial English storefront name pending final brand approval.
BOUNDARIES
The images show design intent and cultural inspiration. They do not confirm production materials, dimensions, stock, final prices or overseas permissions. Original source wording is summarized in English.
RESEARCH LIBRARY / QINGSHAN ZHIYU
BACK TO CASE STUDY →