Posted on Leave a comment

Coding in the kitchen: How Devin Davies whipped up the tasty recipe app Crouton

An illustration of a kitchen with teal walls and white cabinets. Two Apple Vision Pro screens float above a stove, on which sits a pot and pan.

Let’s get this out of the way: Yes, Devin Davies is an excellent cook. “I’m not, like, a professional or anything,” he says, in the way that people say they’re not good at something when they are.

But in addition to knowing his way around the kitchen, Davies is also a seasoned developer whose app Crouton, a Swift-built cooking aid, won him the 2024 Apple Design Award for Interaction.

Crouton is part recipe manager, part exceptionally organized kitchen assistant. For starters, the app collects recipes from wherever people find them — blogs, family cookbooks, scribbled scraps from the ’90s, wherever — and uses tasty ML models to import and organize them. “If you find something online, just hit the Share button to pull it into Crouton,” says the New Zealand-based developer. “If you find a recipe in an old book, just snap a picture to save it.”

And when it’s time to start cooking, Crouton reduces everything to the basics by displaying only the current step, ingredients, and measurements (including conversions). There’s no swiping around between apps to figure out how many fl oz are in a cup; no setting a timer in a different app. It’s all handled right in Crouton. “The key for me is: How quickly can I get you back to preparing the meal, rather than reading?” Davies says.


ADA FACT SHEET

A Crouton screenshot that shows a recipe for butter chicken, with a photo of the dish above a list of ingredients.

Crouton

  • Winner: Interaction
  • Available on: iPhone, iPad, Mac, Apple Vision Pro, Apple Watch
  • Team size: 1

Learn more about Crouton

Download Crouton from the App Store

Crouton is the classic case of a developer whipping up something he needed. As the de facto chef in the house, Davies had previously done his meal planning in the Notes app, which worked until, as he laughs, “it got a little out of hand.”

At the time, Davies was in his salad days as an iOS developer, so he figured he could build something that would save him a little time. (It’s in his blood: Davies’s father is a developer too.) “Programming was never my strong suit,” he says, “but once I started building something that solved a problem, I started thinking of programming as a means to an end, and that helped.”

Davies’s full-time job was his meal ticket, but he started teaching himself Swift on the side. Swift, he says, clicked a lot faster than the other languages he’d tried, especially as someone who was still developing a taste for programming. “It still took me a while to get my head into it,” he says, “but I found pretty early on that Swift worked the way I wanted a language to work. You can point Crouton at some text, import that text, and do something with it. The amount of steps you don’t have to think about is astounding.”

I found pretty early on that Swift worked the way I wanted a language to work.

Devin Davies, Crouton

Coding with Swift offered plenty of baked-in benefits. Davies leaned on platform conventions to make navigating Crouton familiar and easy. Lists and collection views took advantage of Camera APIs. VisionKit powered text recognition; a separate model organized imported ingredients by category.

“I could separate out a roughly chopped onion from a regular onion and then add the quantity using a Core ML model,” he says. “It’s amazing how someone like me can build a model to detect ingredients when I really have zero understanding of how it works.”

An Apple Vision Pro screenshot of Crouton, showing a window containing a chocolate chip cookie recipe floating over a gray marble kitchen counter.

Davies designed Crouton with simplicity in mind at all times. “I spent a lot of time figuring out what to leave out rather than bring in,” he says.

The app came together quickly: The first version was done in about six months, but Crouton simmered for a while before finding its audience. “My mom and I were the main active users for maybe a year,” Davies laughs. “But it’s really important to build something that you use yourself — especially when you’re an indie — so there’s motivation to carry on.”

Davies served up Crouton updates for a few years, and eventually the app gained more traction, culminating with its Apple Design Award for Interaction at WWDC24. That’s an appropriate category, Davies says, because he believes his approach to interaction is his app’s special sauce. “My skillset is figuring out how the pieces of an app fit together, and how you move through them from point A to B to C,” he says. “I spent a lot of time figuring out what to leave out rather than bring in.”

A *Crouton* screenshot that shows a grid of recipes, including burritos, butter chicken, and chocolate chip cookies. Each module includes a photo of the dish.

Crouton recipes can be imported from blogs, cookbook, scraps of paper, or anywhere else they might be found.

Davies hopes to use the coming months to explore spicing up Crouton with Apple Intelligence, Live Activities on Apple Watch, and translation APIs. (Though Crouton is his primary app, he’s also built an Apple Vision Pro app called Plate Smash, which is presumably very useful for cooking stress relief.)

But it’s important to him that any new features or upgrades pair nicely with the current Crouton. “I’m a big believer in starting out with core intentions and holding true to them,” he says. “I don’t think that the interface, over time, has to be completely different.”

My skillset is figuring out how the pieces of an app fit together, and how you move through them from point A to B to C.

Devin Davies, Crouton

Because it’s a kitchen assistant, Crouton is a very personal app. It’s in someone’s kitchen at mealtime, it’s helping people prepare means for their loved ones, it’s enabling them to expand their culinary reach. It makes a direct impact on a person’s day. That’s a lot of influence to have as an app developer — even when a recipe doesn’t quite pan out.

“Sometimes I’ll hear from people who discover a bug, or even a kind of misunderstanding, but they’re always very kind about it,” laughs Davies. “They’ll tell me, ‘Oh, I was baking a cake for my daughter’s birthday, and I put in way too much cream cheese and I ruined it. But, great app!’”

Meet the 2024 Apple Design Award winners

Behind the Design is a series that explores design practices and philosophies from finalists and winners of the Apple Design Awards. In each story, we go behind the screens with the developers and designers of these award-winning apps and games to discover how they brought their remarkable creations to life.

Posted on Leave a comment

TestFlight enhancements to help you reach testers

An iPad and iPhone, both showing the app AwayFinder against a white and blue background.

Beta testing your apps, games, and App Clips is even better with new enhancements to TestFlight. Updates include:

  • Redesigned invitations. TestFlight invitations now include your beta app description to better highlight new features and content your app or game offers to prospective testers. Apps and games with an approved version that’s ready for distribution can also include their screenshots and app category in their invite. We’ve also added a way for people to leave feedback if they didn’t join your beta, so you can understand why they didn’t participate.
  • Tester enrollment criteria. You can choose to set criteria, such as device type and OS versions, to more easily enroll qualified testers via a public link to provide more relevant feedback on your invite.
  • Public link metrics. Find out how successful your public link is at enrolling testers for your app with new metrics. Understand how many testers viewed your invite in the TestFlight app and chose to accept it. If you’ve set criteria for the public link, you can also view how many testers didn’t meet the criteria.

To get started with TestFlight, upload your build, add test information, and invite testers.

Learn more about TestFlight

Posted on Leave a comment

New requirement for app updates in the European Union

Starting today, in order to submit updates for apps on the App Store in the European Union (EU) Account Holders or Admins in the Apple Developer Program need to enter trader status in App Store Connect. If you’re a trader, you’ll need to provide your trader information before you can submit your app for review.

Starting February 17, 2025, apps without trader status will be removed from the App Store in the EU until trader status is provided and verified in order to comply with the Digital Services Act.

Learn what a trader is and how to enter your status

Posted on Leave a comment

Masters of puppets: How ROUND8 Studio carved out a niche for Lies of P

In a screenshot from Lies of P, an enormous humanoid robot with glowing red eyes and electrical bolts surrounding its body clutches the character of P and holds him in the air.

Lies of P is closer to its surprising source material than you might think.

Based on Carlo Collodi’s 1883 novel The Adventures of Pinocchio, the Apple Design Award-winning game is a macabre reimagining of the story of a puppet who longs to be a real boy. Collodi’s story is still best known as a children’s fable. But it’s also preprogrammed with more than its share of darkness — which made it an appealing foundation for Lies of P director Jiwon Choi.

“When we were looking for stories to base the game on, we had a checklist of needs,” says Choi. “We wanted something dark. We wanted a story that was familiar but not entirely childish. And the deeper we dove into Pinocchio, the more we found that it checked off everything we were looking for.”


ADA FACT SHEET

In a screenshot from Lies of P, two characters — one with a metallic left arm and the other in a demonic white mask — prepare for a swordfight in a dimly lit neighborhood.

Lies of P

  • Winner: Visuals and Graphics
  • Team: ROUND8 Studio (developer), NEOWIZ (publisher)
  • Available on: Mac
  • Team size: 100
  • Previous accolades: App Store 2023 Mac Game of the Year, App Store Editors’ Choice

Developed by the South Korea-based ROUND8 Studio and published by its parent company, NEOWIZ, Lies of P is a lavishly rendered dark fantasy adventure and a technical showpiece for Mac with Apple silicon. Yes, players control a humanoid puppet created by Geppetto. But instead of a little wooden boy with a penchant for little white lies, the game’s protagonist is a mechanical warrior with an array of massive swords and a mission to battle through the burned-out city of Krat to find his maker — who isn’t exactly the genial old woodcarver from the fable.

“The story is well-known, and so are the characters,” says Choi. “We knew that to create a lasting memory for gamers, we had to add our own twists.”

In a screenshot from Lies of P, a glowing bulb in an ornate cage-like container floats above the floor in a large room.

In the burned-out world of Lies of P, something this warm and beautiful can’t be good news.

Those twists abound. The puppet is accompanied by a digital lamp assistant named Gemini — pronounced “jim-i-nee,” of course. A major character is a play on the original’s kindly Blue Fairy. A game boss named Mad Donkey is a lot more irritable than the donkeys featured in Collodi’s story. And though nobody’s nose grows in Lies of P, characters have opportunities to lie in a way that directly affects the storyline — and potentially one of the game’s multiple endings.

We knew that to create a lasting memory for gamers, we had to add our own twists.

Jiwon Choi, Lies of P director

“If you play without knowing the original story, you might not catch all those twists,” says Choi. “But it goes the other way, too. We’ve heard from players who became curious about the original story, so they went back and found out about our twists that way.”

There’s nothing curious about the game’s success: In addition to winning a 2024 Apple Design Award for Visuals and Graphics, Lies of P was named the App Store’s 2023 Mac Game of the Year and has collected a bounty of accolades from the gaming community. Many of those call out the game’s visual beauty, a world of rich textures, detailed lighting, and visual customization options like MetalFX upscaling and volumetric fog effects that let you style the ruined city to your liking.

In a screenshot from Lies of P, four terrifying-looking characters in masks and makeshift armor converge around a coffin emblazoned with the word LIAR.

Many of Collodi’s original characters have been updated for Lies of P, including the Black Rabbit Brotherhood, who appear to be hopping mad.

For that city, the ROUND8 team added another twist by moving the story from its original Italian locale to the Belle Èpoque era of pre-WWI France. “Everyone expected Italy, and everyone expected steampunk,” says Choi, “but we wanted something that wasn’t quite as common in the gaming industry. We considered a few other locations, like the wild west, but the Belle Èpoque was the right mix of beauty and prosperity. We just made it darker and gloomier.”

We considered a few other locations, like the wild west, but the Belle Èpoque was the right mix of beauty and prosperity. We just made it darker and gloomier.

Jiwon Choi, Lies of P director

To create the game’s fierce (and oily) combat, Choi and the team took existing Soulslike elements and added their own touches, like customizable weapons that can be assembled from items lying around Krat. “We found that players will often find a weapon they like and use it until the ending,” says Choi. “We found that inefficient. But we also know that everyone has a different taste for weapons.”

The system, he says, gives players the freedom to choose their own combinations instead of pursuing a “best” pre-ordained weapon. And the strategy worked: Choi says players are often found online discussing the best combinations rather than the best weapons. “That was our intention when creating the system,” he says.

A character stands in front of a giant marble statue and an enormous picture window in a large dimly lit room.

The game is set in the Belle Èpoque, an era known for its beauty and prosperity. “We just made it darker and gloomier,” says Choi.

Also intentional: The game’s approach to lying, another twist on the source material. “Lying in the game isn’t just about deceiving a counterpart,” says Choi. “Humans are the only species who can lie to one another, so lying is about exploring the core of this character.”

It’s also about the murky ethics of lying: Lies of P suggests that, at times, nothing is as human — or humane — as a well-intentioned falsehood.

“The puppet of Geppetto is not human,” says Choi. “But at the same time, the puppet acts like a human and occasionally exhibits human behavior, like getting emotional listening to music. The idea was: Lying is something a human might do. That’s why it’s part of the game.”

In a screenshot from Lies of P, a sign reading “Krat Festival” sits over a burned-out stage desolate scene.

Every environment in Lies of P — including the Krat Festival, which has seen better days — is rich with desolate detail.

The Lies of P story might not be done just yet. Choi and team are working on downloadable content and a potential sequel — possibly starring another iconic character who’s briefly teased in the game’s ending. But in the meantime, the team is taking a moment to enjoy the fruits of their success. “At the beginning of development, I honestly doubted that we could even pull this off,” says Choi. “For me, the most surprising thing is that we achieved this. And that makes us think, ‘Well, maybe we could do better next time.’”

Meet the 2024 Apple Design Award winners

Behind the Design is a series that explores design practices and philosophies from finalists and winners of the Apple Design Awards. In each story, we go behind the screens with the developers and designers of these award-winning apps and games to discover how they brought their remarkable creations to life.

Posted on Leave a comment

Announcing the Swift Student Challenge 2025

Swift bird logo on a colorful background with decorative code.

We’re thrilled to announce the Swift Student Challenge 2025. The Challenge provides the next generation of student developers the opportunity to showcase their creativity and coding skills by building app playgrounds with Swift.

Applications for the next Challenge will open in February 2025 for three weeks.

We’ll select 350 Swift Student Challenge winners whose submissions demonstrate excellence in innovation, creativity, social impact, or inclusivity. From this esteemed group, we’ll name 50 Distinguished Winners whose work is truly exceptional and invite them to join us at Apple in Cupertino for three incredible days where they’ll gain invaluable insights from Apple experts and engineers, connect with their peers, and enjoy a host of unforgettable experiences.

All Challenge winners will receive one year of membership in the Apple Developer Program, a special gift from Apple, and more.

To help you get ready, we’re launching new coding resources, including Swift Coding Clubs designed for students to develop skills for a future career, build community, and get ready for the Challenge.

Learn more

Posted on Leave a comment

Upcoming regional age ratings in Australia and France

Apple is committed to making the App Store a safe place for everyone — especially kids. Within the next few months, the following regional age ratings for Australia and France will be implemented in accordance with local laws. No action is needed on your part. Where required by local regulations, regional ratings will appear alongside Apple global age ratings.

Australia

Apps with any instances of simulated gambling will display an R18+ regional age rating in addition to the Apple global age rating on the App Store in Australia.

France

Apps with a 17+ Apple global age rating will also display an 18+ regional age rating on the App Store in France.

Learn more about the age ratings

Posted on Leave a comment

Update on iPadOS 18 apps distributed in the European Union

The App Review Guidelines have been revised to add iPadOS to Notarization.

Starting September 16:

  • Users in the EU can download iPadOS apps on the App Store and through alternative distribution. As mentioned in May, if you have entered into the Alternative Terms Addendum for Apps in the EU, iPadOS first annual installs will begin to accrue and the lower App Store commission rate will apply.
  • Alternative browser engines can be used in iPadOS apps.
  • Historical App Install Reports in App Store Connect that can be used with our fee calculator will include iPadOS.

If you’ve entered into a previous version of the following agreements, be sure to sign the latest version, which supports iPadOS:

Learn more about the update on apps distributed in the EU

Translations of the guidelines will be available on the Apple Developer website within one month.

Posted on Leave a comment

Win-back offers for auto-renewable subscriptions now available

Two iPhone screens that show different ways win-back offers can appear on the App Store: On the product page and in personalized recommendations, such as the Apps tabs.

You can now configure win-back offers — a new type of offer for auto-renewable subscriptions — in App Store Connect. Win-back offers allow you to reach previous subscribers and encourage them to resubscribe to your app or game. For example, you can create a pay up front offer for a reduced subscription price of $9.99 for six months, with a standard renewal price of $39.99 per year. Based on your offer configuration, Apple displays these offers to eligible customers in various places, including:

  • Across the App Store, including on your product page, as well as in personalized recommendations and editorial selections on the Today, Games, and Apps tabs.
  • In your app or game.
  • Via a direct link you share using your own marketing channels.
  • In Subscription settings.

When creating win-back offers in App Store Connect, you’ll determine customer eligibility, select regional availability, and choose the discount type. Eligible customers will be able to discover win-back offers this fall.

Set up win-back offers

Learn about win-back offers

Posted on Leave a comment

Hello Developer: September 2024

Get ready for Apple Intelligence.

Posted on Leave a comment

Behind the Design: The rhythms of Rytmos

A screenshot from the game Rytmos that depicts a floating cube-like shape with a puzzle covering its sides. The shape is set against a green and blue background.

Rytmos is a game that sounds as good as it looks.

With its global rhythms, sci-fi visuals, and clever puzzles, the 2024 Apple Design Award winner for Interaction is both a challenge and an artistic achievement. To solve each level, players must create linear pathways on increasingly complex boards, dodging obstacles and triggering buttons along the way. It’s all set to a world-music backdrop; different levels feature genres as diverse as Ethiopian jazz, Hawaiian slack key guitar, and Gamelan from Indonesia, just to name a few.

And here’s the hook: Every time you clear a level, you add an instrument to an ever-growing song.

“The idea is that instead of reacting to the music, you’re creating it,” says Asger Strandby, cofounder of Floppy Club, the Denmark-based studio behind Rytmos. “We do a lot to make sure it doesn’t sound too wild. But the music in Rytmos is entirely generated by the way you solve the puzzles.”


ADA FACT SHEET

Rytmos

  • Winner: Interaction
  • Team: Floppy Club
  • Available on: iPhone, iPad
  • Team size: 5

Learn more about Rytmos

Download Rytmos from the App Store

The artful game is the result of a partnership that dates back decades. In addition to being developers, Strandby and Floppy Club cofounder Niels Böttcher are both musicians who hail from the town of Aarhus in Denmark. “It’s a small enough place that if you work in music, you probably know everyone in the community,” laughs Böttcher.

The music in Rytmos comes mostly from traveling and being curious.

Niels Böttcher, Floppy Club cofounder

The pair connected back in the early 2000s, bonding over music more than games. “For me, games were this magical thing that you could never really make yourself,” says Strandby. “I was a geeky kid, so I made music and eventually web pages on computers, but I never really thought I could make games until I was in my twenties.” Instead, Strandby formed bands like Analogik, which married a wild variety of crate-digging samples — swing music, Eastern European folk, Eurovision-worthy pop — with hip-hop beats. Strandby was the frontman, while Böttcher handled the behind-the-scenes work. “I was the manager in everything but name,” he says.

The band was a success: Analogik went on to release five studio albums and perform at Glastonbury, Roskilde, and other big European festivals. But when their music adventure ended, the pair moved back into separate tech jobs for several years — until the time came to join forces again. “We found ourselves brainstorming one day, thinking about, ‘Could we combine music and games in some way?’” says Böttcher. “There are fun similarities between the two in terms of structures and patterns. We thought, ‘Well, let’s give it a shot.’”

A *Rytmos* screenshot showing a deconstructed series of dark floating puzzle pieces against a blue and green background.

Puzzles in Rytmos — like the one set on the planet “Hateta” — come with a little history lesson about the music being played.

The duo launched work on a rhythm game that was powered by their histories and travels. “I’ve collected CDs and tapes from all over the world, so the genres in Rytmos are very carefully chosen,” says Böttcher. “We really love Ethiopian jazz music, so we included that. Gamelan music (traditional Indonesian ensemble music that’s heavy on percussion) is pretty wild, but incredible. And sometimes, you just hear an instrument and say, ‘Oh, that tabla has a really nice sound.’ So the music in Rytmos comes mostly from traveling and being curious.”

The game took shape early, but the mazes in its initial versions were much more intricate. To help bring them down to a more approachable level, the Floppy Club team brought on art director Niels Fyrst. “He was all about making things cleaner and clearer,” says Böttcher. “Once we saw what he was proposing — and how it made the game stronger — we realized, ‘OK, maybe we’re onto something.’”

Success in Rytmos isn’t just that you’re beating a level. It’s that you’re creating something.

Asger Strandby, Floppy Club cofounder

Still, even with a more manageable set of puzzles, a great deal of design complexity remained. Building Rytmos levels was like stacking a puzzle on a puzzle; the team not only had to build out the levels, but also create the music to match. To do so, Strandby and his brother, Bo, would sketch out a level and then send it over to Böttcher, who would sync it to music — a process that proved even more difficult than it seems.

“The sound is very dependent on the location of the obstacles in the puzzles,” says Strandby. “That’s what shapes the music that comes out of the game. So we’d test and test again to make sure the sound didn’t break the idea of the puzzle.”

A *Rytmos* screenshot showing a puzzle set on a floating cube-like shape set against a light red background.

Puzzles in Rytmos are all about getting from Point A to Point B — but things are never as simple as they seem.

The process, he says, was “quite difficult” to get right. “Usually with something like this, you create a loop, and then maybe add another loop, and then add layers on top of it,” says Böttcher. “In Rytmos, hitting an emitter triggers a tone, percussion sound, or chord. One tone hits another tone, and then another, and then another. In essence, you’re creating a pattern while playing the game.”

We’ve actually gone back to make some of the songs more imprecise, because we want them to sound human.

Niels Böttcher, Floppy Club cofounder

The unorthodox approach leaves room for creativity. “Two different people’s solutions can sound different,” says Strandby. And when players win a level, they unlock a “jam mode” where they can play and practice freely. “It’s just something to do with no rules after all the puzzling,” laughs Strandby.

Yet despite all the technical magic happening behind the scenes, the actual musical results had to have a human feel. “We’re dealing with genres that are analog and organic, so they couldn’t sound electronic at all,” says Böttcher. “We’ve actually gone back to make some of the songs more imprecise, because we want them to sound human.”

Best of all, the game is shot through with creativity and cleverness — even offscreen. Each letter in the Rytmos logo represents the solution to a puzzle. The company’s logo is a 3.5-inch floppy disk, a little nod to their first software love. (“That’s all I wished for every birthday,” laughs Böttcher.) And both Böttcher and Strandby hope that the game serves as an introduction to both sounds and people they might not be familiar with. “Learning about music is a great way to learn about a culture,” says Strandby.

But mostly, Rytmos is an inspirational experience that meets its lofty goal. “Success in Rytmos isn’t just that you’re beating a level,” says Strandby. “It’s that you’re creating something.”

Meet the 2024 Apple Design Award winners

Behind the Design is a series that explores design practices and philosophies from finalists and winners of the Apple Design Awards. In each story, we go behind the screens with the developers and designers of these award-winning apps and games to discover how they brought their remarkable creations to life.