title: iPhone Killer: The Secret History of the Apple Watch url: http://www.wired.com/2015/04/the-apple-watch/ hash_url: 62ccb9f413f8e1d3928a4d172fa954c0

In early 2013, Kevin Lynch accepted a job offer from Apple. Funny thing about the offer: It didn’t say what he would be doing. So intense is Apple’s secrecy that all Lynch knew was his vague title, vice president of technology, and that he’d be working on something completely new. ¶ It was odd that Apple even offered him a job. During his eight years at Adobe, most recently as chief technology officer, he was best known as the only person dumb enough to publicly fight Steve Jobs over the iPhone’s lack of support for Flash videos. When Lynch announced his move, the reaction was immediate: They want this guy? Apple blogger John Gruber called Lynch “a bozo, a bad hire.”

Kevin Lynch was responsible for turning the Watch from an idea into a product. Riccardo Vecchio

Lynch had a lot to prove—and, apparently, a lot to do. When he showed up at 1 Infinite Loop on his first day, he was instructed to skip the usual new-employee orientation. His boss at the time, hardware czar Bob Mansfield, said to head straight to the design studio and get to work. He could learn about his 401(k) later.

As soon as he walked into the studio, he found out the project he’d been hired to run was already on deadline. In fact, it was behind schedule. There was a design review in two days, he was told, with the Apple brass. Lynch had better be ready.

There were no working prototypes; there was no software. There were just experiments—the iPod crew had made something with a click wheel—and lots of ideas. The expectations, however, were clear: Apple’s senior vice president of design, Jony Ive, had tasked them with creating a revolutionary device that could be worn on the wrist.

It was either hubris or an entirely justifiable expectation. Or both. After all, over the past 15 years, Apple has upended three major categories of consumer electronics and, in the process, become the most valuable company on Earth. There were MP3 players before the iPod, but Apple made you want one. The iPhone transformed the smartphone from business gear into pop culture. The iPad brought tablets in from the fringes, blowing past years of work by the likes of Nokia and Microsoft. For its fourth act, Apple chose a watch. This was to be the next step in a dynasty—the first without the guidance of Steve Jobs. Expectations and scrutiny would be impossibly high; the watch had to be, in the company’s parlance, insanely great.

No pressure, Kevin.

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The goal was to free people from their phones, so it is perhaps ironic that the first working Watch prototype was an iPhone rigged with a Velcro strap. “A very nicely designed Velcro strap,” Lynch is careful to add.

The team built a simulator that displayed a life-size image of an Apple Watch on the screen. Software was moving much more quickly than hardware, and the team needed a way to test how it worked on your wrist. There was even an onscreen digital crown—a facsimile of a watch’s classic knob—that you could swipe to spin, but it hardly replicated the feeling of twisting a real crown. Swiping, after all, is what the knob was supposed to replace. So they made a custom dongle, an actual watch crown that plugged into the bottom of the phone through the cord jack. In a sense the first true Apple Watch prototype was, like 10,000 Kickstarter projects, just a weird iPhone case with a strange accessory sticking out of it.

Clumsy prototype in hand—well, on wrist—the Watch team could start testing some of the core functions they hoped the device would take over from the phone. Figuring out how to send a text was illuminating. Initially the process was a lot like texting on an iPhone: addressee here, message here, confirm message. Tap to send. “It was all very understandable, but using it took way too long,” Lynch says. Also, it hurt. Seriously: Try holding up your arm as if you’re looking at your watch. Now count to 30. It was the opposite of a good user experience. “We didn’t want people walking around and doing that,” Dye says.

So they came up with what they call Quickboard, basically a robot that reads your messages and suggests a handful of possible responses. When your date asks if you want to do Mexican or Chinese for dinner, “Mexican” and “Chinese” automatically show up in the list—tap one and you’ve replied. “We were like, OK, you don’t really need to see another confirmation screen and press another button to send the thing,” Lynch says. “You’re in the moment; just send it.” For more complicated communication, the team equipped the watch with a microphone for dictating a message or command using Siri. Too complex for voice control? At that point, use your phone.

As the testing went on, it became evident that the key to making the Watch work was speed. An interaction could last only five seconds, 10 at most. They simplified some features and took others out entirely because they just couldn’t be done quickly enough. Lynch and team had to reengineer the Watch’s software twice before it was sufficiently fast. An early version of the software served you information in a timeline, flowing chronologically from top to bottom. That idea never made it off campus; the ideas that will ship on April 24 are focused on streamlining the time it takes a user to figure out whether something is worth paying attention to.

Take the feature called Short Look: You feel a pulse on your wrist, which means you’ve just received a text message. You flick your wrist up and see the words “Message from Joe.” If you put your wrist down immediately, the message stays unread and the notification goes away. If you keep your wrist up, the message is displayed on the Watch’s screen. Your level of interest in the information, as demonstrated by your reaction to it, is the only cue the Watch needs to prioritize. It’s interactions like this that the Watch team created to get your face out of your tech.

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And so it went: The team developed notifications that let you see information and take action without opening apps. They built a screen called Glances: a single place for quick hits like sports scores and news. “We rethought the UI,” Lynch says. “We rebuilt the apps—messaging, mail, calendar—more than once, to really get it refined.”

The team had to build software that presented everything you needed without being overwhelming. Fall short of that goal and users might start taking their Watches off, annoyed by the incessant buzzing, at which point the Apple Watch becomes the most personal device you ever bought and then immediately returned. By the time Lynch and his team had finished their third round of software, Ive, Dye, and everyone else believed that they’d nailed the balance.

But if the software was complicated, the hardware was straight-up alien; the human interface team had latched on to the watch’s ability to vibrate on your wrist and was working with engineers to create a new kind of interactivity. The so-called Taptic Engine was designed to feel like a finger tapping on your wrist. Because our bodies are enormously sensitive to taps and buzzes, the Watch can deliver rich information with only slight variations in pace, number, and force of vibrations. One sequence of taps means you’re getting a phone call; a subtly different one means you have a meeting in five minutes.

One sequence of taps means you’re getting a phone call. A subtly different sequence means you have a meeting.

Apple tested many prototypes, each with a slightly different feel. “Some were too annoying,” Lynch says. “Some were too subtle; some felt like a bug on your wrist.” When they had the engine dialed in, they started experimenting with a Watch-specific synesthesia, translating specific digital experiences into taps and sounds. What does a tweet feel like? What about an important text? To answer these questions, designers and engineers sampled the sounds of everything from bell clappers and birds to lightsabers and then began to turn sounds into physical sensations.

There were weekly meetings where the software and interface teams would test out, say, the sound and feeling of receiving a phone call. Ive was the decider and was hard to please: Too metallic, he’d say. Not organic enough. Getting the sounds and taps to the point where he was happy with them took more than a year.

The taps weren’t the only expression of such maniacal attention to detail. On such a small display, small things assume outsize importance, and the human interface team designed some novel ways of interacting with the device. There’s the digital crown, of course, and also the so-called Force Touch that lets you press a little harder on the screen to access hidden menus. They also designed an entirely new typeface, called San Francisco, which is more readable on a small display than Apple’s standard Helvetica. The letters are more square, Dye says, “but with gentle, curved corners,” mimicking the Watch’s case. It’s wide and legible at small sizes, but when it gets larger the letters tighten up a little more. “We just find it more beautiful,” he adds.

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Everyone involved with the project seems to take seriously the difficulty of making a machine that people will strap to their arms. But maybe that’s not asking so much: Swiss watch designers do it all the time. Taking cues from them, the Apple team broke away from the company’s long-standing practice of offering a narrow range of options. Instead they made three very different levels of Watch: Sport, Watch, and Edition. The aluminum $349 Sport may perform exactly the same functions as the gold $17,000 Edition, but Dye maintains that they’re very different products.

That’s what he learned from the watch industry: Personalization and beauty are everything, and the only way to get one company’s product onto different people’s wrists is to offer options—sizes, materials, bands—for a wide range of tastes and budgets. “If you’re going to put something on your body and wear it and it’s going to be on your wrist, we can’t not pay attention to that,” Dye says.

Options were central to the plan from the beginning: two sizes, three tiers, easily interchangeable straps, and tons of watch faces and so-called complications, digital add-ons that show relevant information like the weather and your activity level, to make your Watch uniquely yours. (The term complication is a nod to high-end watchmaking and refers to a function a watch performs beyond telling the hour and minute.) “We didn’t want to have three variations, we wanted to have millions of variations,” Dye says. “Through hardware and software, we could do that.”