A Bauhaus Aesthetic1
Unlike most kids who grew up in Eichler homes, Jobs knew what they were and why they were so wonderful. He liked the notion of simple and clean modernism produced for the masses. He also loved listening to his father describe the styling intricacies of various cars. So from the beginning at Apple, he believed that great industrial design—a colorfully simple logo, a sleek2 case for the Apple II—would set the company apart and make its products distinctive3.
The company’s first office, after it moved out of his family garage, was in a small building it shared with a Sony sales office. Sony was famous for its signature style and memorable4 product designs, so Jobs would drop by to study the marketing5 material. “He would come in looking scruffy6 and fondle the product brochures and point out design features,” said Dan’l Lewin, who worked there. “Every now and then, he would ask, ‘Can I take this brochure?’” By 1980, he had hired Lewin.
His fondness for the dark, industrial look of Sony receded7 around June 1981, when he began attending the annual International Design Conference in Aspen. The meeting that year focused on Italian style, and it featured the architect-designer Mario Bellini, the filmmaker Bernardo Bertolucci, the car maker8 Sergio Pininfarina, and the Fiat9 heiress and politician Susanna Agnelli. “I had come to revere10 the Italian designers, just like the kid in Breaking Away reveres11 the Italian bikers,” recalled Jobs, “so it was an amazing inspiration.”
In Aspen he was exposed to the spare and functional12 design philosophy of the Bauhaus movement, which was enshrined by Herbert Bayer in the buildings, living suites13, sans serif font typography, and furniture on the Aspen Institute campus. Like his mentors14 Walter Gropius and Ludwig Mies van der Rohe, Bayer believed that there should be no distinction between fine art and applied15 industrial design. The modernist International Style championed by the Bauhaus taught that design should be simple, yet have an expressive16 spirit. It emphasized rationality and functionality by employing clean lines and forms. Among the maxims17 preached by Mies and Gropius were “God is in the details” and “Less is more.” As with Eichler homes, the artistic19 sensibility was combined with the capability20 for mass production.
Jobs publicly discussed his embrace of the Bauhaus style in a talk he gave at the 1983 design conference, the theme of which was “The Future Isn’t What It Used to Be.” He predicted the passing of the Sony style in favor of Bauhaus simplicity21. “The current wave of industrial design is Sony’s high-tech22 look, which is gunmetal gray, maybe paint it black, do weird23 stuff to it,” he said. “It’s easy to do that. But it’s not great.” He proposed an alternative, born of the Bauhaus, that was more true to the function and nature of the products. “What we’re going to do is make the products high-tech, and we’re going to package them cleanly so that you know they’re high-tech. We will fit them in a small package, and then we can make them beautiful and white, just like Braun does with its electronics.”
He repeatedly emphasized that Apple’s products would be clean and simple. “We will make them bright and pure and honest about being high-tech, rather than a heavy industrial look of black, black, black, black, like Sony,” he preached. “So that’s our approach. Very simple, and we’re really shooting for Museum of Modern Art quality. The way we’re running the company, the product design, the advertising24, it all comes down to this: Let’s make it simple. Really simple.” Apple’s design mantra would remain the one featured on its first brochure: “Simplicity is the ultimate sophistication.”
Jobs felt that design simplicity should be linked to making products easy to use. Those goals do not always go together. Sometimes a design can be so sleek and simple that a user finds it intimidating25 or unfriendly to navigate26. “The main thing in our design is that we have to make things intuitively obvious,” Jobs told the crowd of design mavens. For example, he extolled27 the desktop28 metaphor29 he was creating for the Macintosh. “People know how to deal with a desktop intuitively. If you walk into an office, there are papers on the desk. The one on the top is the most important. People know how to switch priority. Part of the reason we model our computers on metaphors30 like the desktop is that we can leverage31 this experience people already have.”
Speaking at the same time as Jobs that Wednesday afternoon, but in a smaller seminar room, was Maya Lin, twenty-three, who had been catapulted into fame the previous November when her Vietnam Veterans Memorial was dedicated32 in Washington, D.C. They struck up a close friendship, and Jobs invited her to visit Apple. “I came to work with Steve for a week,” Lin recalled. “I asked him, ‘Why do computers look like clunky TV sets? Why don’t you make something thin? Why not a flat laptop?’” Jobs replied that this was indeed his goal, as soon as the technology was ready.
At that time there was not much exciting happening in the realm of industrial design, Jobs felt. He had a Richard Sapper lamp, which he admired, and he also liked the furniture of Charles and Ray Eames and the Braun products of Dieter Rams33. But there were no towering figures energizing34 the world of industrial design the way that Raymond Loewy and Herbert Bayer had done. “There really wasn’t much going on in industrial design, particularly in Silicon35 Valley, and Steve was very eager to change that,” said Lin. “His design sensibility is sleek but not slick, and it’s playful. He embraced minimalism, which came from his Zen devotion to simplicity, but he avoided allowing that to make his products cold. They stayed fun. He’s passionate37 and super-serious about design, but at the same time there’s a sense of play.”
As Jobs’s design sensibilities evolved, he became particularly attracted to the Japanese style and began hanging out with its stars, such as Issey Miyake and I. M. Pei. His Buddhist38 training was a big influence. “I have always found Buddhism39, Japanese Zen Buddhism in particular, to be aesthetically40 sublime41,” he said. “The most sublime thing I’ve ever seen are the gardens around Kyoto. I’m deeply moved by what that culture has produced, and it’s directly from Zen Buddhism.”
Like a Porsche
Jef Raskin’s vision for the Macintosh was that it would be like a boxy carry-on suitcase, which would be closed by flipping42 up the keyboard over the front screen. When Jobs took over the project, he decided43 to sacrifice portability for a distinctive design that wouldn’t take up much space on a desk. He plopped down a phone book and declared, to the horror of the engineers, that it shouldn’t have a footprint larger than that. So his design team of Jerry Manock and Terry Oyama began working on ideas that had the screen above the computer box, with a keyboard that was detachable.
One day in March 1981, Andy Hertzfeld came back to the office from dinner to find Jobs hovering44 over their one Mac prototype in intense discussion with the creative services director, James Ferris. “We need it to have a classic look that won’t go out of style, like the Volkswagen Beetle,” Jobs said. From his father he had developed an appreciation45 for the contours of classic cars.
“No, that’s not right,” Ferris replied. “The lines should be voluptuous46, like a Ferrari.”
“Not a Ferrari, that’s not right either,” Jobs countered. “It should be more like a Porsche!” Jobs owned a Porsche 928 at the time. When Bill Atkinson was over one weekend, Jobs brought him outside to admire the car. “Great art stretches the taste, it doesn’t follow tastes,” he told Atkinson. He also admired the design of the Mercedes. “Over the years, they’ve made the lines softer but the details starker,” he said one day as he walked around the parking lot. “That’s what we have to do with the Macintosh.”
Oyama drafted a preliminary design and had a plaster model made. The Mac team gathered around for the unveiling and expressed their thoughts. Hertzfeld called it “cute.” Others also seemed satisfied. Then Jobs let loose a blistering47 burst of criticism. “It’s way too boxy, it’s got to be more curvaceous. The radius48 of the first chamfer needs to be bigger, and I don’t like the size of the bevel.” With his new fluency49 in industrial design lingo50, Jobs was referring to the angular or curved edge connecting the sides of the computer. But then he gave a resounding51 compliment. “It’s a start,” he said.
Every month or so, Manock and Oyama would present a new iteration based on Jobs’s previous criticisms. The latest plaster model would be dramatically unveiled, and all the previous attempts would be lined up next to it. That not only helped them gauge52 the design’s evolution, but it prevented Jobs from insisting that one of his suggestions had been ignored. “By the fourth model, I could barely distinguish it from the third one,” said Hertzfeld, “but Steve was always critical and decisive, saying he loved or hated a detail that I could barely perceive.”
One weekend Jobs went to Macy’s in Palo Alto and again spent time studying appliances, especially the Cuisinart. He came bounding into the Mac office that Monday, asked the design team to go buy one, and made a raft of new suggestions based on its lines, curves, and bevels.
Jobs kept insisting that the machine should look friendly. As a result, it evolved to resemble a human face. With the disk drive built in below the screen, the unit was taller and narrower than most computers, suggesting a head. The recess53 near the base evoked54 a gentle chin, and Jobs narrowed the strip of plastic at the top so that it avoided the Neanderthal forehead that made the Lisa subtly unattractive. The patent for the design of the Apple case was issued in the name of Steve Jobs as well as Manock and Oyama. “Even though Steve didn’t draw any of the lines, his ideas and inspiration made the design what it is,” Oyama later said. “To be honest, we didn’t know what it meant for a computer to be ‘friendly’ until Steve told us.”
Jobs obsessed55 with equal intensity56 about the look of what would appear on the screen. One day Bill Atkinson burst into Texaco Towers all excited. He had just come up with a brilliant algorithm that could draw circles and ovals onscreen quickly. The math for making circles usually required calculating square roots, which the 68000 microprocessor57 didn’t support. But Atkinson did a workaround based on the fact that the sum of a sequence of odd numbers produces a sequence of perfect squares (for example, 1 + 3 = 4, 1 + 3 + 5 = 9, etc.). Hertzfeld recalled that when Atkinson fired up his demo, everyone was impressed except Jobs. “Well, circles and ovals are good,” he said, “but how about drawing rectangles with rounded corners?”
“I don’t think we really need it,” said Atkinson, who explained that it would be almost impossible to do. “I wanted to keep the graphics58 routines lean and limit them to the primitives60 that truly needed to be done,” he recalled.
“Rectangles with rounded corners are everywhere!” Jobs said, jumping up and getting more intense. “Just look around this room!” He pointed61 out the whiteboard and the tabletop and other objects that were rectangular with rounded corners. “And look outside, there’s even more, practically everywhere you look!” He dragged Atkinson out for a walk, pointing out car windows and billboards62 and street signs. “Within three blocks, we found seventeen examples,” said Jobs. “I started pointing them out everywhere until he was completely convinced.”
“When he finally got to a No Parking sign, I said, ‘Okay, you’re right, I give up. We need to have a rounded-corner rectangle as a primitive59!’” Hertzfeld recalled, “Bill returned to Texaco Towers the following afternoon, with a big smile on his face. His demo was now drawing rectangles with beautifully rounded corners blisteringly fast.” The dialogue boxes and windows on the Lisa and the Mac, and almost every other subsequent computer, ended up being rendered with rounded corners.
At the calligraphy63 class he had audited64 at Reed, Jobs learned to love typefaces, with all of their serif and sans serif variations, proportional spacing, and leading. “When we were designing the first Macintosh computer, it all came back to me,” he later said of that class. Because the Mac was bitmapped, it was possible to devise an endless array of fonts, ranging from the elegant to the wacky, and render them pixel by pixel on the screen.
To design these fonts, Hertzfeld recruited a high school friend from suburban65 Philadelphia, Susan Kare. They named the fonts after the stops on Philadelphia’s Main Line commuter66 train: Overbrook, Merion, Ardmore, and Rosemont. Jobs found the process fascinating. Late one afternoon he stopped by and started brooding about the font names. They were “little cities that nobody’s ever heard of,” he complained. “They ought to be world-class cities!” The fonts were renamed Chicago, New York, Geneva, London, San Francisco, Toronto, and Venice.
Markkula and some others could never quite appreciate Jobs’s obsession68 with typography. “His knowledge of fonts was remarkable69, and he kept insisting on having great ones,” Markkula recalled. “I kept saying, ‘Fonts?!? Don’t we have more important things to do?’” In fact the delightful70 assortment71 of Macintosh fonts, when combined with laser-writer printing and great graphics capabilities72, would help launch the desktop publishing industry and be a boon73 for Apple’s bottom line. It also introduced all sorts of regular folks, ranging from high school journalists to moms who edited PTA newsletters, to the quirky joy of knowing about fonts, which was once reserved for printers, grizzled editors, and other ink-stained wretches74.
Kare also developed the icons75, such as the trash can for discarding files, that helped define graphical interfaces76. She and Jobs hit it off because they shared an instinct for simplicity along with a desire to make the Mac whimsical. “He usually came in at the end of every day,” she said. “He’d always want to know what was new, and he’s always had good taste and a good sense for visual details.” Sometimes he came in on Sunday morning, so Kare made it a point to be there working. Every now and then, she would run into a problem. He rejected one of her renderings77 of a rabbit, an icon36 for speeding up the mouse-click rate, saying that the furry78 creature looked “too gay.”
Jobs lavished79 similar attention on the title bars atop windows and documents. He had Atkinson and Kare do them over and over again as he agonized80 over their look. He did not like the ones on the Lisa because they were too black and harsh. He wanted the ones on the Mac to be smoother, to have pinstripes. “We must have gone through twenty different title bar designs before he was happy,” Atkinson recalled. At one point Kare and Atkinson complained that he was making them spend too much time on tiny little tweaks to the title bar when they had bigger things to do. Jobs erupted. “Can you imagine looking at that every day?” he shouted. “It’s not just a little thing, it’s something we have to do right.”
Chris Espinosa found one way to satisfy Jobs’s design demands and control-freak tendencies. One of Wozniak’s youthful acolytes81 from the days in the garage, Espinosa had been convinced to drop out of Berkeley by Jobs, who argued that he would always have a chance to study, but only one chance to work on the Mac. On his own, he decided to design a calculator for the computer. “We all gathered around as Chris showed the calculator to Steve and then held his breath, waiting for Steve’s reaction,” Hertzfeld recalled.
“Well, it’s a start,” Jobs said, “but basically, it stinks82. The background color is too dark, some lines are the wrong thickness, and the buttons are too big.” Espinosa kept refining it in response to Jobs’s critiques, day after day, but with each iteration came new criticisms. So finally one afternoon, when Jobs came by, Espinosa unveiled his inspired solution: “The Steve Jobs Roll Your Own Calculator Construction Set.” It allowed the user to tweak and personalize the look of the calculator by changing the thickness of the lines, the size of the buttons, the shading, the background, and other attributes. Instead of just laughing, Jobs plunged83 in and started to play around with the look to suit his tastes. After about ten minutes he got it the way he liked. His design, not surprisingly, was the one that shipped on the Mac and remained the standard for fifteen years.
Although his focus was on the Macintosh, Jobs wanted to create a consistent design language for all Apple products. So he set up a contest to choose a world-class designer who would be for Apple what Dieter Rams was for Braun. The project was code-named Snow White, not because of his preference for the color but because the products to be designed were code-named after the seven dwarfs84. The winner was Hartmut Esslinger, a German designer who was responsible for the look of Sony’s Trinitron televisions. Jobs flew to the Black Forest region of Bavaria to meet him and was impressed not only with Esslinger’s passion but also his spirited way of driving his Mercedes at more than one hundred miles per hour.
Even though he was German, Esslinger proposed that there should be a “born-in-America gene67 for Apple’s DNA” that would produce a “California global” look, inspired by “Hollywood and music, a bit of rebellion, and natural sex appeal.” His guiding principle was “Form follows emotion,” a play on the familiar maxim18 that form follows function. He produced forty models of products to demonstrate the concept, and when Jobs saw them he proclaimed, “Yes, this is it!” The Snow White look, which was adopted immediately for the Apple IIc, featured white cases, tight rounded curves, and lines of thin grooves85 for both ventilation and decoration. Jobs offered Esslinger a contract on the condition that he move to California. They shook hands and, in Esslinger’s not-so-modest words, “that handshake launched one of the most decisive collaborations in the history of industrial design.” Esslinger’s firm, frogdesign,2 opened in Palo Alto in mid-1983 with a $1.2 million annual contract to work for Apple, and from then on every Apple product has included the proud declaration “Designed in California.”
From his father Jobs had learned that a hallmark of passionate craftsmanship86 is making sure that even the aspects that will remain hidden are done beautifully. One of the most extreme—and telling—implementations of that philosophy came when he scrutinized87 the printed circuit board that would hold the chips and other components88 deep inside the Macintosh. No consumer would ever see it, but Jobs began critiquing it on aesthetic grounds. “That part’s really pretty,” he said. “But look at the memory chips. That’s ugly. The lines are too close together.”
One of the new engineers interrupted and asked why it mattered. “The only thing that’s important is how well it works. Nobody is going to see the PC board.”
Jobs reacted typically. “I want it to be as beautiful as possible, even if it’s inside the box. A great carpenter isn’t going to use lousy wood for the back of a cabinet, even though nobody’s going to see it.” In an interview a few years later, after the Macintosh came out, Jobs again reiterated89 that lesson from his father: “When you’re a carpenter making a beautiful chest of drawers, you’re not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You’ll know it’s there, so you’re going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through.”
From Mike Markkula he had learned the importance of packaging and presentation. People do judge a book by its cover, so for the box of the Macintosh, Jobs chose a full-color design and kept trying to make it look better. “He got the guys to redo it fifty times,” recalled Alain Rossmann, a member of the Mac team who married Joanna Hoffman. “It was going to be thrown in the trash as soon as the consumer opened it, but he was obsessed by how it looked.” To Rossmann, this showed a lack of balance; money was being spent on expensive packaging while they were trying to save money on the memory chips. But for Jobs, each detail was essential to making the Macintosh amazing.
When the design was finally locked in, Jobs called the Macintosh team together for a ceremony. “Real artists sign their work,” he said. So he got out a sheet of drafting paper and a Sharpie pen and had all of them sign their names. The signatures were engraved90 inside each Macintosh. No one would ever see them, but the members of the team knew that their signatures were inside, just as they knew that the circuit board was laid out as elegantly as possible. Jobs called them each up by name, one at a time. Burrell Smith went first. Jobs waited until last, after all forty-five of the others. He found a place right in the center of the sheet and signed his name in lowercase letters with a grand flair91. Then he toasted them with champagne92. “With moments like this, he got us seeing our work as art,” said Atkinson.
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1
aesthetic
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| adj.美学的，审美的，有美感 | |
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sleek
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| adj.光滑的，井然有序的；v.使光滑，梳拢 | |
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distinctive
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| adj.特别的，有特色的，与众不同的 | |
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memorable
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| adj.值得回忆的，难忘的，特别的，显著的 | |
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marketing
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| n.行销，在市场的买卖，买东西 | |
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scruffy
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| adj.肮脏的，不洁的 | |
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receded
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| v.逐渐远离( recede的过去式和过去分词 )；向后倾斜；自原处后退或避开别人的注视；尤指问题 | |
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maker
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| n.制造者，制造商 | |
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fiat
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| n.命令，法令，批准；vt.批准，颁布 | |
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revere
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| vt.尊崇，崇敬，敬畏 | |
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reveres
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| v.崇敬，尊崇，敬畏( revere的第三人称单数 ) | |
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functional
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| adj.为实用而设计的，具备功能的，起作用的 | |
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suites
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| n.套( suite的名词复数 )；一套房间；一套家具；一套公寓 | |
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mentors
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| n.（无经验之人的）有经验可信赖的顾问( mentor的名词复数 )v.（无经验之人的）有经验可信赖的顾问( mentor的第三人称单数 ) | |
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applied
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| adj.应用的；v.应用，适用 | |
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expressive
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| adj.表现的，表达…的，富于表情的 | |
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maxims
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| n.格言，座右铭( maxim的名词复数 ) | |
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maxim
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| n.格言，箴言 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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capability
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| n.能力；才能；(pl)可发展的能力或特性等 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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high-tech
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| adj.高科技的 | |
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weird
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| adj.古怪的，离奇的；怪诞的，神秘而可怕的 | |
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advertising
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| n.广告业；广告活动 a.广告的；广告业务的 | |
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intimidating
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| vt.恐吓，威胁( intimidate的现在分词) | |
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navigate
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| v.航行，飞行；导航，领航 | |
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extolled
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| v.赞颂，赞扬，赞美( extol的过去式和过去分词 ) | |
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desktop
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| n.桌面管理系统程序；台式 | |
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metaphor
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| n.隐喻，暗喻 | |
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metaphors
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| 隐喻( metaphor的名词复数 ) | |
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leverage
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| n.力量，影响；杠杆作用，杠杆的力量 | |
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dedicated
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| adj.一心一意的；献身的；热诚的 | |
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rams
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| n.公羊( ram的名词复数 )；(R-)白羊（星）座；夯；攻城槌v.夯实（土等）( ram的第三人称单数 )；猛撞；猛压；反复灌输 | |
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energizing
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| v.给予…精力，能量( energize的现在分词 )；使通电 | |
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silicon
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| n.硅(旧名矽) | |
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icon
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| n.偶像，崇拜的对象，画像 | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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Buddhist
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| adj./n.佛教的，佛教徒 | |
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Buddhism
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| n.佛教（教义） | |
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aesthetically
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| adv.美地，艺术地 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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flipping
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| 讨厌之极的 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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hovering
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| 鸟( hover的现在分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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voluptuous
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| adj.肉欲的，骄奢淫逸的 | |
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blistering
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| adj.酷热的；猛烈的；使起疱的；可恶的v.起水疱；起气泡；使受暴晒n.[涂料] 起泡 | |
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radius
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| n.半径，半径范围；有效航程，范围，界限 | |
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fluency
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| n.流畅，雄辩，善辩 | |
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lingo
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| n.语言不知所云，外国话，隐语 | |
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resounding
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| adj. 响亮的 | |
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gauge
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| v.精确计量；估计；n.标准度量；计量器 | |
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recess
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| n.短期休息，壁凹（墙上装架子，柜子等凹处） | |
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evoked
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| [医]诱发的 | |
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obsessed
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| adj.心神不宁的,鬼迷心窍的,沉迷的 | |
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intensity
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| n.强烈，剧烈；强度；烈度 | |
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microprocessor
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| n.微信息处理机 | |
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graphics
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| n.制图法，制图学；图形显示 | |
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primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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primitives
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| 原始人（primitive的复数形式） | |
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pointed
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| adj.尖的，直截了当的 | |
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billboards
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| n.广告牌( billboard的名词复数 ) | |
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calligraphy
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| n.书法 | |
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audited
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| v.审计，查账( audit的过去式和过去分词 ) | |
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suburban
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| adj.城郊的，在郊区的 | |
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commuter
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| n.(尤指市郊之间)乘公交车辆上下班者 | |
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gene
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| n.遗传因子，基因 | |
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obsession
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| n.困扰，无法摆脱的思想(或情感) | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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assortment
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| n.分类，各色俱备之物，聚集 | |
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capabilities
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| n.能力( capability的名词复数 )；可能；容量；[复数]潜在能力 | |
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boon
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| n.恩赐，恩物，恩惠 | |
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wretches
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| n.不幸的人( wretch的名词复数 )；可怜的人；恶棍；坏蛋 | |
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icons
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| n.偶像( icon的名词复数 )；（计算机屏幕上表示命令、程序的）符号，图像 | |
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interfaces
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| 界面( interface的名词复数 )； 接口（连接两装置的电路，可使数据从一种代码转换成另一种代码）； 交界； 联系 | |
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renderings
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| n.（戏剧或乐曲的）演奏( rendering的名词复数 )；扮演；表演；翻译作品 | |
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furry
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| adj.毛皮的；似毛皮的；毛皮制的 | |
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lavished
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| v.过分给予，滥施( lavish的过去式和过去分词 ) | |
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agonized
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| v.使（极度）痛苦，折磨( agonize的过去式和过去分词 )；苦斗；苦苦思索；感到极度痛苦 | |
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acolytes
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| n.助手( acolyte的名词复数 )；随从；新手；（天主教）侍祭 | |
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stinks
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| v.散发出恶臭( stink的第三人称单数 )；发臭味；名声臭；糟透 | |
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plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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dwarfs
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| n.侏儒，矮子（dwarf的复数形式）vt.（使）显得矮小（dwarf的第三人称单数形式） | |
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grooves
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| n.沟( groove的名词复数 )；槽；老一套；（某种）音乐节奏v.沟( groove的第三人称单数 )；槽；老一套；（某种）音乐节奏 | |
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craftsmanship
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| n.手艺 | |
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scrutinized
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| v.仔细检查，详审( scrutinize的过去式和过去分词 ) | |
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components
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| （机器、设备等的）构成要素，零件，成分； 成分( component的名词复数 )； [物理化学]组分； [数学]分量； （混合物的）组成部分 | |
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reiterated
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| 反复地说，重申( reiterate的过去式和过去分词 ) | |
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engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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flair
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| n.天赋，本领，才华；洞察力 | |
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champagne
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| n.香槟酒；微黄色 | |
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