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.
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.
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.