3. WELL, WHAT IS USABILITY?
“Usability really just means making sure that something
works well: that a person of average (or even below average)
ability and experience can use the thing - whether it's a Web
site, a fighter jet, or a revolving door - for its intended
purpose without getting hopelessly frustrated.”
(Steve Krug)
4. USABILITY TESTING
Testing is a technique to ensure that the intended users can
perform the intended tasks efficiently, effectively and
satisfactorily. Without frustration!
5. WHAT TOOLS ARE AVAILABLE?
Surveys
Interviews
Eyetracking studies
Usability testing
Online testing tools
6. SURVEYS
Allow users to review the site.
Distribute surveys.
Ask them to answer questions
Survey
7. INTERVIEWS
Allow users to review the site.
Make user comfortable.
Ask users questions.
See handout.
Interview
9. EYETRACKING AND THE EYE
Eyetracking is following the trail of where a person is looking.
Equipment can be built into the computer.
Eyetracking software keeps track of what’s on screen while
user is looking at it.
How does it work?
10. FIXATION
When the eye is resting on something.
Last between one-tenth and one-half.
Red spots are fixations.
11. SACCADES
The eye’s rapid movements from one fixation to the next.
Last between one-hundredth and one-tenth of a second.
Thin red line connecting the dots are saccades between
fixations.
Eyetracking Study
12. HEAT MAPS
Visualization technique for eyetracking studies.
A color-coded screenshot that shows the user’s fixations.
Red: where users looked most.
Yellow: indicate fewer fixations.
Blue: indicate least view areas.
Gray: no fixations. Facebook Heatmap
20. USABILITY TESTING
Series of tasks for participants to perform on an actual
website or prototype.
Tasks are formulated from user and business goals.
Measures the success of failure of a design.
What you need?
Pen and clipboard, computer with Internet connection,
perhaps a tape recorder.
22. #1 INTRODUCTION (5-10 MINS)
Make participant feel comfortable.
Let them know they can have a break any time.
If video taping, get permission.
Ask questions about them – include demographics,
occupation, education level, Internet experience.
Explain equipment if necessary.
Assure them that there is no right or wrong.
23. #2 TASKS (10 - 15 MINS )
Be sure to read the task aloud.
Encourage participant to think aloud.
Have a written version that you leave in front of the user.
DO NOT HELP THE USER THROUGH THE TASK.
No small talk!
24. TECHNOLOGY
Morae®: A recorder that captures onscreen activity of the
user’s computer and a camera video of the user.
Creates a synchronized index of events occurring behind the
scenes in applications and in the operating system.
Morae Website
25. COMMON ERRORS
Strategic Errors - premature testing, not enough time or
will to make changes.
Inadequate Planning - do a pilot test to uncover problems
with plan and materials.
Read script aloud.
Allow enough time between test sessions (minimum 30
minutes)
26. COMMON ERRORS
Poor Task Design - test core functionality and areas
identified as problematic.
If scenarios were used, convert into tasks to ensure key
interactions are studied.
Accidental Revelation - revealing too much. Watch your
language.
Unprofessional Demeanor - need to be professionally
detached and neutral. Don’t finish user’s sentence!
27. TEST PARTICIPANTS
Get representative users - Craig’s list, LinkedIn,employment
agencies, market research agencies.
Use questionnaires to screen.
Offer incentives.
Send reminders.
29. TEST PARTICIPANTS
Schedule 5 - 8 users.
Only need 5 - account for no shows, botched tests.
Test up to 3 groups of 5 - 1 test after iterations made.
35. QUANTITATIVE DATA
Any information that can be measured:
Ease of use
Satisfaction
Verbal descriptions of people’s experiences
Examples: The time it takes to complete a task, or the
completion rate of a task.
36. QUALITATIVE DATA
Information that requires interpretation
Identifies trends or categories of user’s behavior
Example: How well users can complete a task
Where they are encountering problems
Level of frustration
45. AFFINITY DIAGRAMS
Organizes items into common themes.
Helpful when you have a large amount of data.
You have many facts or ideas in apparent chaos.
When issues seem too large and complex.
When group consensus is needed.
46. AFFINITY DIAGRAMS
1. Record each idea on sticky note and layout on wall
2. Look for groups
3. Repeat till all notes are grouped
4. If a note seems to belong in two groups, make a second note
5. Discuss patterns and reason for groupings
6. Find headers
49. SPREADSHEETS
Use to track stories, needs, pain points, successes
Provides Quantitative layer over Qualitative information
More difficult to collaborate than affinity diagrams
Example
50. WORKSHOP # 1 - USABILITY TEST
Please break into twos. Person A tests Person B
Follow format:
Orientation
Tasks - read aloud to participant
- careful not to “help”
- be sure to ask about expectations
- let mistakes happen
Debriefing
51. WORKSHOP # 1 - USABILITY TEST
Anything surprise you?
Any new insight?
Anything go wrong?
Was the site used in a way that you did not expect?
Did you discover any usability problems?
52. WORKSHOP # 1a- USABILITY TEST
Please break into twos. Person B tests Person A
Follow format:
Orientation
Tasks - read aloud to participant
- careful not to “help”
- be sure to ask about expectations
- let mistakes happen
Debriefing
53. WORKSHOP # 1a - USABILITY TEST
Anything surprise you?
Any new insight?
Anything go wrong?
Was the site used in a way that you did not expect?
Did you discover any usability problems?
55. USER EXPERIENCE
"User experience isn't a layer or component of a product or
service. It's really about the design of the whole systems and
their interconnections."
- Andre Hinton, Senior IA at Vanguard
56. WHY TEST?
If a user can’t find what a product, they won’t buy.
If they can’t find what they are looking for, they will look
elsewhere.
The holder of the mouse rules!
58. NAVIGATION
“Navigation isn’t just a feature of a website, it is the web site,
in the same way that the building, the shelves, and the
cash register are Sears. Without it, there’s no there there.”
-Steve Krug
59. WAYFINDING
Coined by Kevin Lynch in The Image of the City, 1960.
Describes the elements that allow us to navigate successfully
in cities and towns.
60. 4 CORE COMPONENTS
1. Orientation: Where am I now?
2. Route decisions: Can I find the way to where I want to go?
3. Mental mapping: Are my experiences consistent and
understandable enough to know where I’ve been and to
predict where I should go next?
4. Closure: Can I recognize that I have arrived in the right
place?
61. ELEMENTS OF MENTAL MAPS
1. Paths: streets, transit lines, canals, railroads - channels
that people regularly move.
2. Edges: physical barriers; walls, fences, rivers, shore -
boundaries that create linear breaks in continuity/separate
and relate two distinct regions.
3. Districts: Major sections of a city that have a common
identifying character: Chinatown, Wall Street, Greenwich
Village.
62. ELEMENTS OF MENTAL MAPS
4. Nodes: Intersections, enclosed squares, street corners,
subway stations - all serve as points of reference, transition
and destination.
5. Landmarks: Towering buildings, golden domes,
mountains, signs, storefronts, trees - physical objects that
serve as spatial reference points.
63. ON THE WEB
No sense of scale or movement in space.
No compass: no direction.
You are here: navigation interface.
Paths: lead the way: site navigation, breadcrumbs.
67. NODES
The local coffee shop or Times Square?
Too much choice causes stress, slows decisions, makes us
less satisfied and more likely to walk away.
69. LANDMARKS “YOU ARE HERE”
Search function cuts across all the normal wayfinding
boundaries.
Orientation cues are particularly important since users often
arrive at a page without having followed a deliberate and
repeatable path.
71. SUMMARY
1. Paths: create consistent, well-marked navigation paths.
2. Regions: create a unique but related identity for each
site region.
3. Nodes: don’t confuse the user with too many choices.
4. Landmarks: use consistent landmarks in site navigation
and graphics to keep the user oriented.
Web Style Guide, 3rd Edition
73. ELEGANCE & SIMPLICITY
Use economy of expression.
Most powerful designs are result of a process of
simplification and refinement.
74. MINIMALISM
“A designer knows he has achieved perfection not when
there is nothing left to add, but when there is nothing left to
take away.”
- Anoine de Saint Exupéry
-
76. ADVANTAGES
Approachability: easy to tell at a glance what it is and designs
invite further exploration.
Recognizability: recognized easily, easily assimilated,
understood and…REMEMBERED.
Immediacy: have greater impact because they can be
immediately recognized and understood with minimal effort.
Usability: simplicity enhances usability.
77. PRINCIPLES
Unity
Refinement
Fitness
All the elements must be unified to produce a coherent
whole. The parts and whole must be refined to focus user
attention and the fitness of the solution to the
communication problem must be ensured at every level.
78. HOW
Reduction
Regularization
Leverage
Reduce the design to its essence, regularize the elements of
the design, then combine them for maximum leverage.
80. SCALE, CONTRAST, PROPORTION
The subtle interrelationship of scale, contrast and
proportion can be seen in all harmonious designs.
81. SCALE
Describes the relative size of a design element in relation to
the other design elements and the composition as a whole.
84. CONTRAST
Results from the differences that can be seen between the
design elements.
Provides visual distinctions in: shape, size, color, texture,
position, orientation, and movement.
90. ORGANIZATION & STRUCTURE
Provide the user with visual pathways needed to experience
a site in a systematic way.
Must be introduced by establishing relationships among the
design elements.
93. GROUPING
Start by grouping display elements into higher order units.
(Note: words in a book are grouped into columns,
paragraphs, sections etc).
Higher-level structures orient the user.
Binds functional units tightly together.
Use spacing and alignment for effectiveness.
95. HIERARCHY
Eye looks for visual hierarchies for orientation.
Most important elements must be large enough to draw the
viewer closer.
Specifics follow.
97. RELATIONSHIPS
Grouping and hierarchy are reinforced when visual
elements are related.
Position, size and value provide visual cues.
Alignment helps form visual relations.
99. BALANCE
Ensures that the elements remain stable in their position on
the page.
A composition is balanced when the visual weight of the
elements on either side of the piece are approximately equal.
135. Link to home page Primary location for search, shopping carts
LOGO
Calender | A-Z Index Search This Site GO
Navigation and search
The tagline would go here... Identity and titles
Header
Navigation links
Navigation | Navigation | Navigation | Navigation Tab navigation
Selected Tab Unselected Tab Unselected Tab
Navigation Home page > Section > Page Breadcrumb trail Alternate right location
Navigation for scan column
Navigation navigation and search
Local Navigation
Navigation
Navigation Common location for
Navigation banner ads
Navigation
Navigation
Search,
banner ads, Left scan column Right scan column
Main content column
contact (optional) (optional)
information
Contact information,
Footer Copyright 2012 | Company Name | Company Address | New York, NY | 555-555-5555
copyrights, dates
136. WEB STANDARDS
“The experienced web designer, like the talented newspaper
art director, accepts that many projects she works on will
have headers and columns and footers. Her job is not to
whine about emerging commonalities but to use them to
create pages that are distinctive, natural, brand-appropriate,
subtly memorable and quietly but unmistakably engaging.”
- Jeffery Zeldman
-
137. ABOVE THE FOLD
Above the fold - a graphic design concept that refers to the
location of an important news story or a visually appealing
photograph on the upper half of the front page of a
newspaper.
In web design, top 600 to 700 pixels (on 19” - 22” monitor)
Just a guideline.
140. BREAKING THE RULES
More sites now will put important content beneath the fold.
People will scroll if the content is interesting.
37signals Acumen Fund
Zipcare
141. PURPOSE OF GRAPHIC DESIGN
Unlike a print, web users interact with information.
GUI (graphic user interface) must convey function and
meaning.
Graphics are integral to the user’s experience.
142. PURPOSE OF GRAPHIC DESIGN
Create visual hierarchy so you can see what’s important.
Define functional regions of the page.
Group page elements that are related, so you can see
structure in the content.
143. CONSISTENT LAYOUT
Header - mini versions of the homepage.
Footer - about house keeping and and legal matters.
Global Navigation
Local Navigation
Content, Features, Products
Banner Ads
144. PAGES SHOULD INCLUDE
Informative title
Identity
Copyright statement
Link back to home
Navigational links
Heading or title to clarify content
Link to contact information
Alternate (alt) text identifying graphics on the page
145. WHAT GOES INTO A HEADER?
Site identity
Major navigation links/utility navigation
Search box (not always)
Link back to home
146. POSSIBLE HEADER COMPONENTS
Individual designs rarely use them all.
Advertising Search This Site GO Cart
Navigation | Navigation | Navigation | Navigation
LOGO Site titles, section identity, or advertising
Selected Tab Unselected Tab Unselected Tab
149. WHAT GOES INTO A FOOTER?
Contact information.
Copyright statement.
Page author.
Links to related sites or to larger enterprise.
Utility links can go here.
Redundant navigation for long pages.
152. CONTENT IS KING
“Ultimately, users visit your website for its content.
Everything else is just the backdrop. The design is there to
allow people access to the content.”
- Jakob Nielsen
-
153. PAPER VERSUS MONITOR
Because screen resolution is low (72 to 110 dpi), it places a
strain on the human eye.
Because we read on a screen, we are forced to view from a
more or less fixed position - with print you can read
anywhere in any position.
Can lay papers out on the floor. (Can’t do a search though.)
154. PAPER VERSUS MONITOR
Screen glare is not an obstacle when reading on paper.
Monitor Flick: looks like a solid image, but the screen is
refreshing so fast that you are fooled into seeing a solid
image, but the brain is alway correcting for the flicker.
Reading is 25% slower on a screen. (Jacob Nielsen)
155. READING ON THE WEB
- Scrolling is clumsy - people don’t like it and they lose their place.
- Readers scan on-screen, then print content for reading.
- Web reading is not stationary - text jumps from link to link and
page to page.
- Many web pages end up as fragments of information taken from
larger context.
156. 3 GUIDELINES
1. Be succinct - write no more than 50% of the test that you
would have used in print.
2. Write for scanability - use short paragraphs, subheadings,
bulleted lists.
3. Use hypertext to split up long information into multiple pages.
157. SCANABILITY
- Studies show that almost 80% of users initially scan a
webpage.
- Users pick out key words, sentences and paragraphs of
interest - They skip over the text they are not concerned with.
- Write articles with two or three levels of headlines for easy
scanability.
- Use general page headings plus subheads and sub-subheads
if needed.
158. SCANABILITY
- Use meaningful headlines - Tell the user what the page or
section is about.
- Use bulleted lists and similar design elements to break text
blocks.
- Use highlighting and emphasis to catch the user's eye.
- Be sure to distinguish from link colors so as to avoid confusion.
159. USE PLAIN LANGUAGE
- Start each page with the conclusion - most important material
should come up front.
- Users should be able to tell in a glance what the page is about.
- Users often only read the first line of a paragraph - use topic
sentences, one idea per paragraph.
- Use simple sentence structure - avoid convoluted writing and
complex words.
- Use caution with metaphors and humor - readers may take you
literally.
160. CHUNKING
- Use hyperlinks to make text short.
- Keep links visible, ideally above the fold.
- Split the information into “chunks” that focus on a certain topic.
- Move long, detailed info to secondary pages.
- Avoid using links to break long articles into separate pages - is
disruptive and makes printing difficult.
161. HEADLINES
- Online headlines are different than printed headlines.
- Online headlines are often displayed out of context: as part of
an article, in a search list, in a bookmark list.
- Headline must stand on it’s own even when the rest of content
is unavailable.
- Online headlines and their content are often hard to see in a
single glance on the window so it is difficult for the user to
learn enough just from the surrounding data.
162. LEGIBILITY
Use colors that have a high contrast between the text and the
background.
Use plain color-backgrounds or subtle patterns.
Use fonts big enough that people can read.
Make the text stand still – moving blinking or zooming text is
hard to read.
Keep sentences to 7 - 10 words as that is what the eye can
comfortably track.
164. LEGIBILITY
AVOID THE USE OF ALL CAPS FOR TEXT BECAUSE RESEARCH HAS SHOWN THAT IT IS
10 PERCENT SLOWER TO READ THAN TEXT IN MIXED CASES, BECAUSE IT IS HARDER
FOR THE EYE TO RECOGNIZE THE SHAPE OF WORDS AND CHARACTERS IN THE MORE
UNIFORM AND BLOCKY APPEARANCE. DON'T DO IT.
Legibility depends on the tops of all the letters.
Legibility depends on the tops of all the letters.
2. Use plain color-backgrounds or subtle patterns.
3. Use fonts big enough that people can read.
4. Make the text stand still – moving blinking or zooming text is hard to read.
165. REMEMBER
Explain what the article is about in terms that relate to the user.
Write in plain language.
Avoid teasers that try to entice people to click.
Try to make the first word an important, information-carrying one.
166. WORKSHOP # 3 HEADLINES
Stay in your groups.
Remove every word you can from the passages below and create
a catching headline.
1. Government officials involved in the Olympics call it a
fiasco, that is, the extent of chaos that has thrown security
plans into disarray upon learning that of the shortfall of
civilian guards.
2. If “Ghosts in the Machine” an ambitious exhibition at the
Met were itself a machine, it would have lots of moving
parts but not all would be performing with equal
efficiency.
3. Apple announced that its’ bestselling MacBook laptop
just got its newest makeover. It’s a thing of beauty, clad in
aluminum like its more expensive Pro siblings. A
168. TYPOGRAPHY
Typography is the process of arranging letters, many
terms are left over from the days of letterpress
On computers we use fonts, whether for digital printing or
on the web.
169. HISTORY OF WEB TYPOGRAPHY
At first browsers had no way of embedding fonts.
1995: Netscape introduces <font> tag
1998: CSS2 allows for more type configuration
2005: CSS3 introduces @font-face, allowing fonts to be
hosted online
170. WEB-SAFE FONTS
Come preinstalled on most computers.
Arial, Comic Sans MS, Courier,Georgia, Impact, Tahoma
Times New Roman, Verdana
171. @FONT-FACE
Lets the browser load a font from a remote server, meaning
that pages can display text in the specified font even if the
user does not have it installed on their computer.
Allows for greater design customization without sacrificing
accessibility or SEO.
174. SERIF VS SANS SERIF
Serif
Sans Serif
Slab Serif
Display
175. HEADERS VS COPY
You can use decorative fonts for headers...
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Praesent sodales,
sapien ut porta blandit, metus dui imperdiet ipsum, id eleifend est nulla eu
orci. Mauris lectus eros, rutrum at lobortis ut, eleifend eget eros. Nulla at
felis eget neque aliquam convallis.
176. X-HEIGHT
Lorem ipsum Lorem ipsum
Lorem ipsum dolor sit amet, consectetur Lorem ipsum dolor sit amet, consectetur
adipiscing elit. Praesent sodales, sapien ut adipiscing elit. Praesent sodales, sapien ut
porta blandit, metus dui imperdiet ipsum, id porta blandit, metus dui imperdiet ipsum, id
eleifend est nulla eu orci. Mauris lectus eros, eleifend est nulla eu orci. Mauris lectus eros,
rutrum at lobortis ut, eleifend eget eros. Nulla rutrum at lobortis ut, eleifend eget eros. Nulla
at felis eget neque aliquam convallis. at felis eget neque aliquam convallis.
177. OUR FAVORITES
Our favorite web fonts available for free from Google Fonts.
Open Sans Open Sans Open Sans Open Sans Open Sans
Lato Lato Lato Lato
Lora Lora Lora Lora
Vollkorn Vollkorn Vollkorn Vollkorn
179. INCREASE LEADING
Line height should be at least 120% of font size.
Lorem ipsum dolor sit amet, consectetur Lorem ipsum dolor sit amet, consectetur
adipiscing elit. Praesent sodales, sapien ut adipiscing elit. Praesent sodales, sapien ut
porta blandit, metus dui imperdiet ipsum, id
porta blandit, metus dui imperdiet ipsum, id
eleifend est nulla eu orci. Mauris lectus eros,
rutrum at lobortis ut, eleifend eget eros. Nulla eleifend est nulla eu orci. Mauris lectus eros,
at felis eget neque aliquam convallis. rutrum at lobortis ut, eleifend eget eros. Nulla
at felis eget neque aliquam convallis.
184. MAINTAIN LEGIBILITY
Light colors are hard to read, even on white. Beware of #666.
Lorem ipsum dolor sit amet, consectetur Lorem ipsum dolor sit amet, consectetur
adipiscing elit. Praesent sodales, sapien ut adipiscing elit. Praesent sodales, sapien ut
porta blandit, metus dui imperdiet ipsum, id porta blandit, metus dui imperdiet ipsum, id
eleifend est nulla eu orci. Mauris lectus eros, eleifend est nulla eu orci. Mauris lectus eros,
rutrum at lobortis ut, eleifend eget eros. Nulla rutrum at lobortis ut, eleifend eget eros. Nulla
at felis eget neque aliquam convallis. at felis eget neque aliquam convallis.
Test your legibility with AccessColor.
189. COLUMN WIDTH
The eye can only comfortable track 7-10 words per line,
which is about 40 to 80 characters.
Multiply your text size by 30 to determine maximum
column width.
10px type x 30 = 300px column width
194. IMPLEMENT HIERARCHY
Use multiple typefaces to differentiate between elements on
the page.
Mix between categories (serif, sans serif, slab serif, display)
Don’t go too crazy! Don’t use more than 2 or 3 fonts.
200. WORKSHOP # 4 CREATE SITE
Please go into the group you worked with when creating
personas.
CREATE CONTENT FOR THE WEBSITE USING THE PERSONAS AND
SCENARIOS.
What content would the user you defined find on the site?
Establish content
Establish information architecture
Create site map
Create navigation
Create wireframes or other prototype
Do a prototype test
Make improvements
201. WORKSHOP #4 SCENARIOS
GROUP #1:
Site is to provide info for people starting own business; some of them
have experience in he business world; others this is their first
exposure to issues running a business.
GROUP #2:
Site is to provide info for people looking to place parents in assisted
living.
GROUP #3:
Site is to provide info for people looking to compare car insurance.
Notas do Editor
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The above example is from a website's "About Us" pages. The heatmap clearly shows users' tendency to read in an "F" pattern, and their focus on information that's presented in bulleted lists. In this case, there's also a small amount of attention to the "see also" area, but no viewing of the promotions in the rightmost column. \n
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Web users tend to ignore everything that looks like advertisement and, what is interesting, they&#x2019;re pretty good at it. Although advertisement is noticed, it is almost always ignored. Since users have constructed web related schemata for different tasks on the Web, when searching for specific information on a website, they focus only on the parts of the page where they would assume the relevant information could be, i.e. small text and hyperlinks. Large colourful or animated banners and other graphics are in this case ignored.\nJakob Nielsen reports in his AlertBox entry that most users are essentially blind to ad banners. If they&#x2019;re looking for a snippet of information on a page or are engrossed in content, they won&#x2019;t be distracted by the ads on the side.The implication of this is not only that users will avoid ads but that they&#x2019;ll avoid anything that looks like an ad, even if it&#x2019;s not an ad. Some heavily styled navigation items may look like banners, so be careful with these elements.\n\n
On Web pages, we tend to focus on people&#x2019;s faces and eyes, which gives marketers a good technique for attracting attention. But our attraction to people&#x2019;s faces and eyes is only the beginning; it turns out we actually glance in the direction the person in the image is looking in.\n\n
Here&#x2019;s an eye-tracking study that demonstrates this. We&#x2019;re instinctively drawn to faces, but if that face is looking somewhere other than at us, we&#x2019;ll also look in that direction. Take advantage of this phenomenon by drawing your users&#x2019; attention to the most important parts of your page or ad. Eye-tracking heat map of a baby looking directly at us, from the UsableWorld study.\n\n
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Examples\nGood IA: Supermarket puts chocolate together with other snack foods\nBad IA: nAll grocery items by manufacturer \n
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you can see parallels. similarities but travel on the web is magical. you just appear at the next point in your journey from page to page. no experience of the landscape unfolding before you as a series of landmarks.\n
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Consistency is the golden rul of interface design and way finding, but paradox is if everything looks the dame, THERE ARE NO EDGES. in a corporate site if y ou move from one region to another, from marketing to HR, you ought to notice that you just passed an important regional bouncary.\n
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The Paradox of Choice, Barry Schwartz give users choice is the matra but too many will overwhelm them.\n
As pages get more complex you risk overwhelming the user with the &#x201C;times Square effect&#x201D; of too many competing visual stimuli.\n
Orientation cuse are particularly important since users often arrive at a page without having followed a deliberate and repeatable pateh.\n
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Orientation cuse are particularly important since users often arrive at a page without having followed a deliberate and repeatable pateh.\n
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Orientation cuse are particularly important since users often arrive at a page without having followed a deliberate and repeatable pateh.\n
Orientation cuse are particularly important since users often arrive at a page without having followed a deliberate and repeatable pateh.\n
Orientation cuse are particularly important since users often arrive at a page without having followed a deliberate and repeatable pateh.\n