The company had not only a new logo, but a new name.
No longer was it Next. It was NeXT.
Others might not have understood the need to obsess over a logo, much less pay $100,000 for one.
But for Jobs it meant that NeXT was starting life with a world-class feel and identity, even if it hadn't yet designed its first product.
As Markkula had taught him, a great company must be able to impute its values from the first impression it makes.
As a bonus, Rand agreed to design a personal calling card for Jobs.
He came up with a colorful type treatment, which Jobs liked,
but they ended up having a lengthy and heated disagreement about the placement of the period after the "P" in Steven P.Jobs.
Rand had placed the period to the right of the "P.", as it would appear if set in lead type.
Steve preferred the period to be nudged to the left, under the curve of the "P.", as is possible with digital typography.
"It was a fairly large argument about something relatively small," Susan Kare recalled. On this one Jobs prevailed.
In order to translate the NeXT logo into the look of real products, Jobs needed an industrial designer he trusted.
He talked to a few possibilities, but none of them impressed him as much as the wild Bavarian he had imported to Apple: Hartmut Esslinger,
whose frogdesign had set up shop in Silicon Valley and who, thanks to Jobs, had a lucrative contract with Apple.
Getting IBM to permit Paul Rand to do work for NeXT was a small miracle willed into existence by Jobs's belief that reality can be distorted.
But that was a snap compared to the likelihood that he could convince Apple to permit Esslinger to work for NeXT.
This did not keep Jobs from trying.