A warm gallery for a strategist who shows what each choice cost

On a desktop screen the home page sets Xinyi's photograph in a tall three-by-four frame on the left and her caption on the right: a small kicker, her authored headline, the role and market line, one sentence of position and a note that she is open to board and advisory conversations. On a phone the order reverses, so the words arrive before the picture. Beneath the cover, three large figures sit in a ruled band: RMB684 million of revenue, 23 million monthly readers and 74 titles licensed for short drama. Each carries a label and a line of context.

The centre of the home page is a single passage set in large serif type under the heading A point of view. For Xinyi it is her conviction that free reading, synthetic voices and a producer's cheque each raise the question of who pays and who gives something up. Below it, the three cases hang side by side, each marked with a Roman numeral on a sand-coloured panel. Only the first sentence of each case appears, which suits her material well: the free-reading readership in late 2021, the short-drama rush of early 2024 and fifty-eight thousand books without audio. A link leads from each panel to the full account.

Profile, Expertise, Impact and Contact open with a centred heading in a narrow column, the way a gallery hangs a title card. The biography sits beside a second portrait and continues into her languages, her formation in economics and three endorsements, including one from the narration-studio head who opposed synthetic voices. Expertise numbers five practices from free-tier pricing to overseas licensing. Impact repeats the headline figures, then gives each case generous space so the colleague who disagreed, the committed minimum declined and the 340 re-voiced titles can all be read in sequence.

The Career page treats each appointment as a study. A bordered caption on the left holds a large numeral, the dates and the employer; the record on the right gives title, reporting line, team, scope, mandate, outcomes and the reason for each move. Xinyi's six studies run from a municipal cable network through on-demand video packaging and a state-owned publisher to her current company, so a reader can watch one question about distribution sharpen over twenty-four years. Readiness opens with her contribution, places judgement and first-year approach on a wide wall, and keeps committees, days and directorships in a bordered side label.

The Advantage Copper palette pairs a parchment ground with a deep brown ink and reserves a burnt-copper accent for numerals, kickers and links, with sand panels behind the exhibit numbers. Headings, figures and the point-of-view passage use Instrument Serif; captions, labels and the long case accounts use DM Sans. The pairing suits Xinyi's likely readers, who are founders, state-owned shareholders and venture investors weighing the same decision differently. Serif display lends her position a considered, bookish voice fitting a publisher, while the plain sans text keeps figures such as RMB60 million or 6,100 synthetic titles easy to check.

The design works best for leaders whose record rests on a few deliberate choices rather than a long list of programmes. Heads of rights at publishers, strategy officers at audio, video or subscription companies, corporate-development directors who have declined deals, and editors who have moved into general management would all fit it. It also suits anyone whose portrait is calm and formal, because the tall crop rewards a composed image. Leaders needing many metrics or a continuing journal would be better served elsewhere in the collection.