While many researchers have covered the history, culture, geochemistry and archaeology of the neolithic Hongshan culture from northeast China, very little attention has been paid to the design features of Hongshan jades. Controversy still rages around authentication, weathering, and originality however my aim here is to focus specifically on a small range of seven yellow jades that appear to be made from the same material, and possibly the same maker or makers. For readers unfamiliar with Hongshan culture I would recommend reading Sarah M. Nelson, Zhu Da and Guo Dashun and for jade analysis Anderson, Crisci and Qiang. While I may refer to historical, cultural, and archaeological sources my aim is not to make a claim for these pieces in terms of originality or emerging from a particular time but to do the opposite, to focus only on the making and aesthetic factors to try and gain insight into the relations and meanings of forms independent of time. This publication is designed to be read as a series of visual notes alongside a paper I published on ‘Hongshan Culture: Numbers, Controversy and a Proto Industrial Design Society’ at the International Association of Design Research Societies conference in Taipei, 2025.