“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.

“最后直到他指著一個‘禁止停車’的標示牌時，我說：‘好了，你說對了，我認輸。圓角矩形也要成為我們電腦上的基本要素?！闭绾沾姆茽柕禄貞浀模骸暗诙煜挛?，比爾回到了德士古塔，臉上帶著大大的微笑。他在演示中可以飛快地畫出漂亮的圓角矩形?！痹邴愃_和麥金塔，以及后來幾乎所有的蘋果電腦中，對話框和窗口都帶上了圓角。

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.

還在里德學院的時候，喬布斯在旁聽書法課時愛上了各種襯線字體和無紂線字體，以及合適的字距和行距?！霸谖覀冊O計第一臺麥金塔電腦的時候，當年的記憶都冒了出來?！彼髞碓谡劶皶ㄕn的時候說。因為Mac采用了位圖顯示，它可以支持無數種字體——從優雅的到古怪的，然后在屏幕上逐個像素地顯現出來。

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.

為了設計這些字體，赫茨菲爾德招募了來自費城郊區的髙中好友蘇珊·卡雷（SusanKare）。在給這些字體命名時，他們采用了費城梅因萊恩區火車線路上車站的名字：歐弗布魯克（Overbrook）、梅里昂（Merion）、阿德莫爾（Ardmore）和羅斯蒙特（Rosemont）。喬布斯覺得這一過程十分有趣。一天傍晚，喬布斯路過他們那里，也開始想字體的名字。那都是些“從沒有人聽說過的小地方”，他抱怨說，“應該用世界級的大城市來命名！”卡雷說，正是這個原因，才有了現在的這些字體名字：芝加哥、紐約、日內瓦、倫敦、舊金山、多倫多和威尼斯。

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.

馬庫拉和其他一些人從來都無法欣賞喬布斯對于版面設計的癡迷。“他對于字體的了解是很讓我們驚訝的，而且他一直堅持要設計好看的字體?！瘪R庫拉回憶說，“我一直說：‘字體？??？難道我們沒有更重要的事情了嗎？’”事實上，麥金塔上各種漂亮的字體，再結合激光打印技術和強大的圖形功能，推動了桌面出版產業的誕生，也成為了蘋果公司贏利點。同時，它也讓普通人——不管是中學校報記者還是編輯PTA（家長和教師聯誼會）時事通訊的母親，都享受到了掌握字體知識帶來的奇異樂趣，而這種樂趣，之前只有印刷工人、滿頭白發的編輯和其他跟油墨打交道的人才能體會得到。

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.”

卡雷也開發了圖標——例如放置被刪除文件的垃圾箱，這是圖形界面中不可缺少的。她和喬布斯很合得來，因為他們都喜歡簡約設計，也都想讓Mac成為一臺充滿創意的電腦?！八ǔＴ谝惶炜煲Y束的時候過來，”她回憶說，“他總想知道最新的進展，他品位一流，而且對視覺細節的判斷也很準確?！庇袝r候，喬布斯會在星期天早上過來，所以卡雷那個時間段都會在工作崗位上，好向他展示最新的成果。她會時不時地遭到否定。她設計了一個兔子圖標，用來表示增加鼠標的點擊速率，但遭到了喬布斯的反對，理由是這個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.”

喬布斯在窗口、文件以及屏幕頂端的標題欄上也耗費了大量精力。他要求阿特金森和卡雷反復修改，因為他對標題欄的樣子總是不滿意。喬布斯不喜歡麗薩上使用的標題欄，因為它們太黑、太粗糙了。他希望Mac上的標題欄能夠更加平滑，再有些細條紋?！拔覀冏隽?0種不同的標題欄才讓他滿意?！卑⑻亟鹕貞浾f?？ɡ缀桶⑻亟鹕欢缺г拐f喬布斯在標題欄的修改上耗費了他們太多時間，而他們有更重要的事情要做。喬布斯大發脾氣?！澳隳芟胂笠幌旅刻於家粗鞘裁锤杏X嗎？”他吼道，“這不是個小事，這是我們必須做好的事！”

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·埃斯皮諾薩找到了一個方法，既可以滿足喬布斯對設計的要求，又可以滿足他瘋狂的控制欲。蘋果公司還在車庫里辦公的時候，埃斯皮諾薩就是沃茲尼亞克的助手之一，在喬布斯的勸說下，他從伯克利退了學，喬布斯的理由是，學習的機會有很多，但研發Mac的機會只有一次。他自己決定在電腦上設計一款計算器程序?！按蠹叶季鄣揭黄?，看克里斯向史蒂夫展示程序，他屏住了呼吸，等待史蒂夫的反應?！焙沾姆茽柕禄貞浾f。

“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.

“這只是個開始，”喬布斯說，“但基本上來說，很爛。背景顏色太深，一些線條的粗細不對，按鍵也太大了?！备鶕滩妓固岢龅呐u，埃斯皮諾薩日復一日地不斷對程序進行完善，但每次展示最新的版本都會受到新的批評。最終，在一個下午，喬布斯再次出現的時候，埃斯皮諾薩展示了他靈機一動做出的解決方案——“史蒂夫·喬布斯自己動手做的計算器程序”。這個程序允許用戶改變線條的粗細、按鍵的大小、陰影、背景及其他屬性，從而實現計算器外觀的調整和個性化。喬布斯沒有只顧著笑，他開始認真地根據自己的喜好調整計算器的外觀。大約10分鐘后，他終于得到了讓自己滿意的答案。毫無疑問，他的設計出現在了最終問世的Mac上，并在之后15年的時間里一直作為標準使用。