“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 primitive!’” 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.

“最后直到他指着一个‘禁止停车’的标示牌时，我说：‘好了，你说对了，我认输。圆角矩形也要成为我们电脑上的基本要素。’”正如赫茨菲尔德回忆的：“第二天下午，比尔回到了德士古塔，脸上带着大大的微笑。他在演示中可以飞快地画出漂亮的圆角矩形。”在丽萨和麦金塔，以及后来几乎所有的苹果电脑中，对话框和窗口都带上了圆角。

At the calligraphy class he had audited 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.

还在里德学院的时候，乔布斯在旁听书法课时爱上了各种衬线字体和无紂线字体，以及合适的字距和行距。“在我们设计第一台麦金塔电脑的时候，当年的记忆都冒了出来。”他后来在谈及书法课的时候说。因为Mac采用了位图显示，它可以支持无数种字体——从优雅的到古怪的，然后在屏幕上逐个像素地显现出来。

To design these fonts, Hertzfeld recruited a high school friend from suburban Philadelphia, Susan Kare. They named the fonts after the stops on Philadelphia’s Main Line commuter 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.

为了设计这些字体，赫茨菲尔德招募了来自费城郊区的髙中好友苏珊·卡雷（SusanKare）。在给这些字体命名时，他们采用了费城梅因莱恩区火车线路上车站的名字：欧弗布鲁克（Overbrook）、梅里昂（Merion）、阿德莫尔（Ardmore）和罗斯蒙特（Rosemont）。乔布斯觉得这一过程十分有趣。一天傍晚，乔布斯路过他们那里，也开始想字体的名字。那都是些“从没有人听说过的小地方”，他抱怨说，“应该用世界级的大城市来命名！”卡雷说，正是这个原因，才有了现在的这些字体名字：芝加哥、纽约、日内瓦、伦敦、旧金山、多伦多和威尼斯。

Markkula and some others could never quite appreciate Jobs’s obsession with typography. “His knowledge of fonts was remarkable, 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 delightful assortment of Macintosh fonts, when combined with laser-writer printing and great graphics capabilities, would help launch the desktop publishing industry and be a boon 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 wretches.

马库拉和其他一些人从来都无法欣赏乔布斯对于版面设计的痴迷。“他对于字体的了解是很让我们惊讶的，而且他一直坚持要设计好看的字体。”马库拉回忆说，“我一直说：‘字体？！？难道我们没有更重要的事情了吗？’”事实上，麦金塔上各种漂亮的字体，再结合激光打印技术和强大的图形功能，推动了桌面出版产业的诞生，也成为了苹果公司赢利点。同时，它也让普通人——不管是中学校报记者还是编辑PTA（家长和教师联谊会）时事通讯的母亲，都享受到了掌握字体知识带来的奇异乐趣，而这种乐趣，之前只有印刷工人、满头白发的编辑和其他跟油墨打交道的人才能体会得到。

Kare also developed the icons, such as the trash can for discarding files, that helped define graphical interfaces. 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 renderings of a rabbit, an icon for speeding up the mouse-click rate, saying that the furry creature looked “too gay.”

卡雷也开发了图标——例如放置被删除文件的垃圾箱，这是图形界面中不可缺少的。她和乔布斯很合得来，因为他们都喜欢简约设计，也都想让Mac成为一台充满创意的电脑。“他通常在一天快要结束的时候过来，”她回忆说，“他总想知道最新的进展，他品位一流，而且对视觉细节的判断也很准确。”有时候，乔布斯会在星期天早上过来，所以卡雷那个时间段都会在工作岗位上，好向他展示最新的成果。她会时不时地遭到否定。她设计了一个兔子图标，用来表示增加鼠标的点击速率，但遭到了乔布斯的反对，理由是这个毛茸茸的生物看上去“太娘娘腔了”。

Jobs lavished similar attention on the title bars atop windows and documents. He had Atkinson and Kare do them over and over again as he agonized 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.”

乔布斯在窗口、文件以及屏幕顶端的标题栏上也耗费了大量精力。他要求阿特金森和卡雷反复修改，因为他对标题栏的样子总是不满意。乔布斯不喜欢丽萨上使用的标题栏，因为它们太黑、太粗糙了。他希望Mac上的标题栏能够更加平滑，再有些细条纹。“我们做了20种不同的标题栏才让他满意。”阿特金森回忆说。卡雷和阿特金森曾一度抱怨说乔布斯在标题栏的修改上耗费了他们太多时间，而他们有更重要的事情要做。乔布斯大发脾气。“你能想象一下每天都要看着它是什么感觉吗？”他吼道，“这不是个小事，这是我们必须做好的事！”

Chris Espinosa found one way to satisfy Jobs’s design demands and control-freak tendencies. One of Wozniak’s youthful acolytes 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.

克里斯·埃斯皮诺萨找到了一个方法，既可以满足乔布斯对设计的要求，又可以满足他疯狂的控制欲。苹果公司还在车库里办公的时候，埃斯皮诺萨就是沃兹尼亚克的助手之一，在乔布斯的劝说下，他从伯克利退了学，乔布斯的理由是，学习的机会有很多，但研发Mac的机会只有一次。他自己决定在电脑上设计一款计算器程序。“大家都聚到一起，看克里斯向史蒂夫展示程序，他屏住了呼吸，等待史蒂夫的反应。”赫茨菲尔德回忆说。

“Well, it’s a start,” Jobs said, “but basically, it stinks. 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 plunged 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.

“这只是个开始，”乔布斯说，“但基本上来说，很烂。背景颜色太深，一些线条的粗细不对，按键也太大了。”根据乔布斯提出的批评，埃斯皮诺萨日复一日地不断对程序进行完善，但每次展示最新的版本都会受到新的批评。最终，在一个下午，乔布斯再次出现的时候，埃斯皮诺萨展示了他灵机一动做出的解决方案——“史蒂夫·乔布斯自己动手做的计算器程序”。这个程序允许用户改变线条的粗细、按键的大小、阴影、背景及其他属性，从而实现计算器外观的调整和个性化。乔布斯没有只顾着笑，他开始认真地根据自己的喜好调整计算器的外观。大约10分钟后，他终于得到了让自己满意的答案。毫无疑问，他的设计出现在了最终问世的Mac上，并在之后15年的时间里一直作为标准使用。