Milton website design
Hello and welcome to this website design Web Designer Milton video tutorial.
I’m Owen Corso from Google.
And today, we’re going to build a rich media expandable creative with video.
Let’s start by selecting file, New File.
This opens a dialog box where we will set up our ad.
First, let’s make out high of project.
We have four options– The default is Display & Video 360so we will leave that as is.
Data Driven Templates for Display & Video 360 Ad Canvas - Google Web Designer
Concluding with this series of tutorials, we will see now How To Solve A 4x4x4 Rubiks Cube.
The main purpose of the series, is that you learn in a much more effective way how to solve the Rubik's cubes.
We have seen that the resolution of the Junior Cube it's a subset of the steps for the resolution of Standard Cube.
We will see now that in the case of 4x4 Rubik's Cube (and bigger cubes), the method of resolution of the Standard Cube is the base of resolution of more complex cubes.
A way to solve more complex Rubik's Cubes is accomplished through using what is commonly called the 3x3x3 reduction method.
In this method it is necessary that you know how to solve the Standard Cube. If you need to learn how to solve the Standard Cube, please read 'How To Solve A 3x3x3 Rubiks Cube'.
For simplicity this tutorial is divided in four pages, in this first page terms are defined and the method is described.
Table Of Contents• How to solve a 4x4x4 Rubiks Cube • Pieces and Faces • Aditional Faces • Turn Of An Internal Face • Description Of The Algorithm • Step 1, Solving The Centres • Step 2, Pairing up the Edges • Step 3, Finishing the Cube • The Color Scheme • Swapping Two Opposite Centres • Solve A 4x4x4 Rubiks Cube • Step 1, Solving The Centres • I] First White Row • II] First Yellow Centre • III] Finishing the White Centre • IV] Concluding The Centres • Step 2, Pairing up the Edges • Pairing, Case A • Pairing, Case B • Step 3, Finishing the Cube • Last Layer Edges Parity Error • Incomplete Line • Incomplete Cross • Top Layer Edges Parity Error • Opposite Dedges • Adjacent Dedges • Top Layer Corners Parity Error • Corners In Line • Corners In Diagonal
How To Solve A 4x4x4 Rubiks Cube
In order to understand How To Solve A 4x4x4 Rubiks Cube, you need to be familiar with the notation. If you don't know it, please read 'How to solve a Rubiks Cube' before continuing.
For the purposes of the following tutorial, a series of colors will be chosen for the faces, you can choose others.
Pieces and Faces
- Corner ..- a physical corner piece. A corner piece has three sides. There are eight corners.
- Edge .....- a physical edge piece. An edge piece has two sides. There are twenty four edges.
- Centre ...- a physical centre piece. A centre piece has one side. There are twenty four centres.
- Face .....- a side of the cube. There are six external faces and six internal faces.
A 4x4x4 Rubiks Cube has internal faces, they are named with a lowercase letter.
- Internal Upper Face - u
- Internal Down Face - d
- Internal Left Face - l
- Internal Right Face - r
- Internal Front Face - f
- Internal Back Face - b
Turn Of An Internal Face
In a 4x4x4 Rubiks Cube, the internal faces can turn.
To facilitate the turn (and the notation) of an internal face, this is rotated together with the outer face.
See the difference in the following examples of a clockwise turn of the External and the Internal Upper Face (also note the double arrow, which denotes to turn two faces).
How To Solve A 4x4x4 Rubiks Cube - Description Of The Algorithm
The algorithm is divided in three steps.
Step 1, Solving The Centres
The first step in the solution is to solve the 4 Centre Pieces on each face of the cube.
Step 2, Pairing up the Edges
The next step is to Pair up the 24 Edges into 12 distinct Double Edge Pairs (Dedges)
Step 3, Finishing the Cube
When you have solved the Centres and Paired up the Edges, you should see your 4x4x4 Rubik Cube like a 3x3x3 Rubik Cube.
You can finish off the cube in the same way as a 3x3x3.
The Color Scheme
The 4x4x4 Rubiks Cube is an even cube and has no fixed Centre pieces to refer to.
There is no quick way to determine which color goes where in relation to the others. It is helpful to have a color scheme memorised:
Standard Color Scheme
- Yellow opposite White
- Blue opposite Green
- Red opposite Orange
If your cube is scrambled (or it doesn't have the standard color scheme), there is an easy way to determine the scheme.
Simply solve the corners of your 4x4x4 (assuming that you can solve the Corners of a 3x3x3).
Once you've figured out your colour scheme, memorize it or write it down.
Swapping Two Opposite Centres
At some point in your 4x4x4 Rubik Cube solving it is possible that you make a mistake with your Centres, such as transposing two Opposite Centres.
There is an easy way to fix it.
How To Solve A 4x4x4 Rubiks Cube - Algorithm
Now that you understood the method, it is time to put in practice.
Begin with the first step: Solving The Centres.Make money writing about your passions. Join HubPages ________________________________________________________________ Acknowledgement : Table Of Contents by Darkside ________________________________________________________________
Milton website design
Next, we can select the type of ad.
We want to make an expandable, so we select Expandable on the left.
Next, we can set again ad’s dimensions.
We are building a 320 by 50that expands to 480 by 250.
So I will make those changes.
We then assign the Milton creative a name.
I will leave my Save ToLocation as the default, and leave the talk about set to Quick.
Once I’m happy with my settings, I click OK.
Google Web Designer creates the initial pages of the ad for me with the dimensions I defined.
The collapsed page already contains a Tap Area event to expand the ad and an expanded pageMilton with a close tap area to collapse back down.
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As part of Intuit’s core initiatives to further cultivate mobile first thinking and accelerate growth into global markets, the Intuit Small Business Group’s Design Org has shifted from a model of designing and shipping prioritized features to a model where every designer is responsible for end-to-end, cross-device experiences, which includes designing for our products and services on desktop web, mobile web, desktop client apps, and native mobile apps.
As a design lead for our ecosystem of native mobile products over the past few years, I started getting a lot of questions around guidance and principles for mobile design. I noticed many of the designers, product managers, and engineers who are new to mobile app design or don’t live and breathe mobile app development on an everyday basis didn’t fully understand the nature of designing for native platforms and device capabilities. To reinforce the notion that “cross-device” and “mobile first” isn’t just about designing for smaller screens and scaling across multiple device sizes, I collaborated with the Design Systems Team to establish a set of mobile patterns and guidelines so that designers can hit the ground running, or run even faster, with mobile design. We recently published some guidelines, tools, and resources on our internal design toolkit that I thought would be great to share some key points and takeaways with a wider audience as the documentation addresses many frequently asked questions around mobile patterns.
Firstly, I want to start off by saying that what I write here is simply for guidance. Our mantra for any kind of pattern guidelines documentation we provide is, “Give me guidance, but let me drive.” We don’t want to be prescriptive, and we don’t want to tell you how to design, but this is a good starting point to get you going on native mobile designs. Why are we calling out native mobile? As we continue to design device-agnostic, end-to-end experiences and features for products and services, we must remember not to neglect the different platforms (i.e. our mobile products are currently offered on both iOS and Android).
1. Respect the platform
We documented patterns and components based on native operating systems that we have apps on: iOS and Android. When designing for native platforms, you should consistently refer to the native OS design guidelines first for maximum quality. Keep in mind that native platform guidelines constantly evolve, so it’s always good practice to stay on top of these guidelines and refresh your memory and knowledge often.
Apple’s Human Interface Guidelines: https://developer.apple.com/ios/human-interface-guidelines/
Google’s Material Design Guidelines: https://material.io/guidelines/
2. Focus on the customer benefit
Always design for the customer benefit first. No use case is the same, and many use cases have exceptions. Do not design something simply because you can reuse a pattern or component for another feature. Design patterns help ground us as a system and unify an experience across an ecosystem of products, but they should by no means be the first or last stop in the design process. Always question yourself: How will this benefit the customer?
3. Think device first
Push your thinking beyond “mobile first.” Start thinking about leveraging device capabilities first. The native mobile device has a lot to offer: touch, voice, pressure, location tracking, accelerometer, notifications, etc. You are designing around the device, the platform, the user experience. How can these device features be utilized in our products? How can the mobile device benefit users beyond the screen interface in front of them?
4. Keep scalability in mind
Growing from the previous principle, do remember that a mobile device isn’t just a phone. Scalability across devices, more specifically between a phone and tablet, is a common challenge among designers. When we think of mobile devices, we know there are tablets, phones, phablets (not small enough to be a phone, not big enough to be a tablet). Some of the recurring questions I get asked are: Should there be parity between web and tablet designs? Can we translate the phone patterns to be the same on tablets? How do we design for phablets (not small enough to be a phone, not big enough to be a tablet)? To answer these questions, we researched with users, took an in-depth look at device interfaces and screen sizes, and set some standards. While the phone and tablet share many similarities, users use them very differently.
Mobile interfaces LESS THAN 7 inches width should be treated as a phone. Syntax and layout should be aligned across these devices as much as possible, but we also want to leverage native platform guidelines and capabilities first and foremost.
A fundamental design principle for mobile phones is to include only necessary information. Do not overload the user with more than they need to know or take action on. The phone is a convenient way to consume information on the go. Small business owners use a phone to complete quick actions while they are not in the office, capture data, view content, then perhaps close it out and come back to take a look later.
Mobile interfaces GREATER THAN 7 inches width should be treated as a tablet. Syntax and layout should be aligned across these devices as much as possible, and by no means should they need to align exactly the same as the less than 7-inch interfaces.
Tablet designs should look and feel like desktop web, but they should function like the phone (with tap/swipe/hold gestures, transitions, etc.). Many users view the tablet as a hybrid device. We’ve encountered many small business owners that don’t own a computer, but they own a tablet, and those users treat the tablet as a reliable device they can do work on.
To scale for the future or additional digital interfaces, you should also think about non-mobile touchscreens like TV displays, interactive table displays, automobile displays, laptop displays that you can touch, etc. You want to make sure you can scale for multiple screen sizes, large and small, and not limit yourself to thinking only about the devices your products are being supported by.
Patterns and Guidelines
This list is a small subset of patterns and guidelines that I’ve found designers have been commonly asking around best practices for our mobile products.
One of the major aspects that make navigating content on native mobile platforms so delightful is the transitions between screens. Two questions I get asked a lot are: When should a push (screen pushed in leftward from the right) be used? When should a modal (screen pushed upward from the bottom) be used? We’ve established the following best practices:
A push is essentially the fundamental screen transition to view a new screen that is stacked on top of the previous screen. There is typically a Back button so user can view the last viewed screen. For screens that are primarily for viewing, such as transaction detail screens or lists, we use a push.
A modal is typically used when we are requiring the user to select, edit content, or input data. All of our transaction forms use full screen modals as it requires more user thought due to several form fields on one screen. The titles bars for these screens typically have Cancel and Save or Cancel and Done actions. Then, when you tap Save, you get a push screen because you are viewing (not editing) the saved content.
Call to Actions
This section highlights a question I often get: “Should this call to action be a button or a text link?” In both iOS’ and Android’s design guidelines, text as buttons is the norm and recommendation. However, I feel when we use text, especially with a system font against a dark or light background, we lose out on a major opportunity to incorporate brand elements, such as our ecosystem green color or line iconography. So, we’ve deliberately moved away from using text as call to actions, and instead use buttons with high contrast, which also makes it very clear that it is a call to action and not just part of the screen content.
Our empty state screens provides a first impression to users who are new to our products. It usually consists of an illustration, a brief description, and a clear call to action. A common and current design trend is the usage of gray text on a light background. If you decide to follow that trend, make sure the text is readable and accessible by analyzing the foreground and background colors to meet the WCAG 2.0 color contrast ratio requirements.
Firstly, yes, it’s spelled caret, not carat or carrot. 🙂 Carets are used to promote discoverability. Historically, we try to use carets for every instance we want to indicate that the user should tap into the row to view more. However, in our forms, we are working toward to moving away from using carets and instead utilize the extra real estate by creating visual cues and conversational content design to indicate tap targets to view more. After some user testing with different design treatments, we’ve found that discoverability isn’t as much of an issue as we thought. Users will naturally tap on rows, whether there’s more information provided to them or not. We only want to use carets when absolutely necessary.
General rule of thumb for native mobile design: Use action sheets whenever there are multiple actions associated with a single call to action (that is not a system blocker). Apple iOS guidelines calls these action sheets. Google Android calls these bottom sheets. Use action sheets/bottom sheets whenever there are multiple actions associated with a single call to action.
Cards or Tiles
A card (or tile as other teams may call it) is a component acting as a rectangular container for a certain amount of information: visual elements, instructional text, diagrams, and action triggers. There are two types of cards based on appearance and usage: action card and info card.
We use native system dialogs for critical alerts, permissions related alerts, system blocker alerts, etc. The key word is “alert.” Note that for actions that aren’t related to these things, we try to use action sheets.
The general rule for native mobile design is to use system fonts as much as possible. However, we needed to incorporate our brand and voice and tone to create what we call “QuickBooks Ownable Moments.” For large headlines and sub-headlines, we use our brand fonts. For body text, we use system fonts. For fonts within buttons, we use system fonts.
Toggle switches are used to trigger a binary operation (i.e. turning something on and off). It is used often to replace a web checkbox metaphor. We have a lot of checkboxes in our web products so when we design for native mobile, we want to make sure we are only looking to replace binary checkboxes that allows for things like enabling or disabling content, show/hide content or fields, turn on/off tax, track returns for customers, instead of checkboxes used for selecting multiple items.
Again, these are just a few guidelines to get you started or to accelerate your mobile first design process, especially for native mobile. You are the driver and designer with creative license to define the end-to-end user experience for your products and services. Trust your gut, follow your instincts, but always remember to respect the platforms, focus on the customer benefit, think device first, and keep scalability in mind!
Yvonne So is a Principal UX Designer @Intuit currently crafting meaningful experiences for small businesses around the world. With a passion and mission for making technology more inclusive of everyone, she regularly speaks and writes about mobile UX, accessibility, innovation, and empathic design.
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WEB DESIGN IS BROKEN but it's okay weare fixing it.
Today we are gonna follow on from the last video and we're gonnatake you further along down that path to that magical place called budget.
Yeswe're helping you to create a budget, an appropriate budget for your web designproject.
I'm still not gonna give you some magical figure because it doesn'texist; it's all relative.
So I'm not gonna talkin terms of X pounds or Y dollars but I will be talking in terms of high mediumlow investment what that means only you can really know because a largeinvestment for you might be a small investment for the next business: a smallinvestment for coca-cola it's probably gonna be most people's annual turnovers!So only you will know what a large versus a small investment actually is.
Soin the last video we laid down some key things that you really need to be awareof when you're thinking about a budget not just for a web design project butactually for anything and these are these are things, biases that that we allhave as people that can really affect how we determine what to invest inthings.
By understanding these biases we actually reduce the chance of over orunder investing in a project just simply by being aware of them.
So in this videowe're gonna look at two more very key things that are going to give you quitea reliable shortcut to determining whether the investment you make islarger or smaller.
These two things are risk and complexity.
What do we mean byrisk and what do we mean by complexity? When we're talking about risk we'retalking about the impact that it could have on your business.
Something that ishigh risk could have a significant impact on your business.
The way I like to think about risk is that it's whether it goes right orwhether it goes wrong, so it's not just down side there's also upside as well.
If there's significant upside then it's still gonna be high risk.
Low risk meansthat it's not gonna make a huge impact on your business,it's not gonna move the needle as they say.
Complexity is really just about howtechnically difficult it is to actually deliver this piece of functionality soif you look at, I don't know, take bridge making as an example: if you're buildinga small bridge across a little stream then that's probably going to be lesstechnically difficult then if you're trying to bridge the River Thames.
So it'show technically difficult it is to deliver and again it goes on a scale oflow to high complexity so why risk and complexity well if we plot them on agraph like so, we can see that they create four quadrants.
Now each of thesefour quadrants represents a different type of project: a high risk, highcomplexity project; a high risk, low complexity project; a low risk, highcomplexity project and a low risk, low complexity project.
Now just by exploringthese four different types of projects, these four project characteristics wecan actually start to make assumptions about what that project is going to belike and give you some shortcuts as to how much you invest in that type ofproject.
Let's jump into it: let's start off with the easy one low risk lowcomplexity.
So this is what I call the 'tick box' this is a website project thatis effectively just a tick box exercise maybe as a part of your business there'sa requirement that you have a web-based resource which goes over a whole bunchof really interesting things.
Maybe it'sjust a regulatory requirement, maybe you've gone for some funding and awebsite has to be a part of what you deliver.
It really doesn't make a hugeimpact on your business if it's just informational as these things typicallytend to be, then it doesn't really require groundbreaking programmingskills and cutting-edge design to actually fulfill its need.
So in thistype of project you really want to be investing as little as you possibly canjust as much as you need to to get a reasonable job done.
It's not gonna makea huge impact on your business; it's not technically difficult to deliver youjust want something that works and that ticks that box.
So if your project is lowrisk low complexity don't bet the farm on it there's no point it's not gonnabring you the return that you need pay as little as you can to get a goodprofessional job done but don't go crazy over it.
So now we've got low risk highcomplexity.
This is an interesting space and I like to call this quadrant in thistype of project the 'moderniser'.
With something that's low risk and highcomplexity typically we're looking at improving existing systems and processesusing newly available modern technologies.
With this type of projectwhat you really want to be doing is looking at a provider that hasthoroughly solved this problem so I'm thinking online payments companies likePayPal, like Stripe have thoroughly solved this technical challenge.
It's notnecessarily the type of project that you think is going to completelyrevolutionize your business; it might make things a lot more efficient andyou'll probably see some uptick in sales, engagement things like that, but ultimatelyit's not the big game changer for your business.
So you should be lookingto invest a reasonable amount to get some off-the-shelf solutions that canactually bridge this gap and help you modernize.
Let's jump into my favoritequadrant: low complexity high risk this is what I call the 'punt'.
So this is myfavorite sector because this is typically where a business has spotted anew opportunity maybe a new part of the market maybe they want to spin off anexisting product or service and they just want to test it out.
They want tosee whether their offering or messaging works.
Why this is high risk is that ifit works well then there could be significant upside.
It might be a wholenew part of their business it might be a new standalone business if it goes badlythen they lose their initial investment.
Now what you want to do when you'reworking in this quadrant you what you want to be doing is thinking aboutmultiple small investments and testing religiously.
Test absolutely everythingbecause what you're trying to do is figure out if this thing, if this ideahas got the legs to warrant a proper investment.
You want to be thinkinglanding pages; very simple to produce very easy to iterate.
You also want to bethinking about investing in things like pay-per-click advertising as well -literally buying the traffic to test against your multiple service offeringvariations.
Don't bet the farm on this it's all about controlling risk at everysingle point every single iteration so be very purposeful be very deliberateabout how you execute when you're dealing with low complexity high riskprojects.
So the final quadrant is what I call the 'moonshot'.
This is the stuff ofstartup legend.
This is that entrepreneur space where we are launching newproducts into unknown markets.
This is an area that is very similar to high risklow complexity in its approach but you should really be making significantinvestments in this area: you still need to control the risk andyou still need to test fastidiously but you might be needing to actually investheavier and produce some custom functionality.
You might need to actuallybe producing working prototypes of your product or service offering.
You can't cut corners when you're in this quadrant the risk is too high.
Because the complexity is high you're probably going to be building thingsthat have never been built before; you're needing to create technical capabilitywithin your business and understand how that impacts the delivery of yourproduct and/or service.
So absolutely never cut corners here.
The key wordsthat you should be listening out to when you're talking about the project is 'noone else is doing this', 'this has never been done before', 'this is brand new',''here's why it's different to the competitors'.
All of these things shouldbe getting you thinking high risk high complexity.
Invest well, don't cut cornersand test and iterate and measure absolutely everything you can.
So thoseare the four quadrants and hopefully this gets you a little bit closer tounderstanding where your project sits in those quadrants and the amount that youshould invest relative to, well whatever that means to you as a business.
Thus farwe've understood things about the biases and the psychology that can affect howwe make investment decisions, we've been able to identify where our project sitsalong an axis of risk versus complexity in the next video we're going to belooking at some pounds and pence examples for how you can start to createthat budget or a range of that budget based on the perceived upside or theperceived savings that you're gonna make or thatyou're hoping to make in your web design project.
That was heavy!My name is Aaron Taylor, I'm helping you to make better decisions and have betterconversations when you're buying a website.
Till next time!.
WEB DESIGN IS BROKEN.
It's just crumbled tosand in your hands and it's just disappointing.
Today we are going to talkabout budget that the big one: budget budget BUDGET! It is such a huge topicbut I'm finally gonna lay down the final word on budget, specifically how much youshould spend when you're buying a website.
I've got the answer for you.
Youready you ready for it? 500,000 pounds a week! There we go! Did it!(that was easy) I'm out.
See you later.
(web design isfixed) No.
If you do have five hundred thousand a week to spend on a websiteyou should get in touch with me.
I think we could work with that.
Budget it's sucha huge topic no one's really kind of tackling the answers of a few there's afew articles on the internet that are like "well if you want this type ofwebsite you should spend around this much and if you want that type ofwebsite you should spend around that" Much it really comes down to a fewfactors namely your attitude towards risk, whether you're whether you'recoming from a gain or a pain perspective and how much you actually stand to makeout of it.
What you're really doing is investing in a website: you're lookingfor it to create a return you want it to be putting money back into your pocket.
If you don't want it to do that then it's only gonna be acting detrimental,it's only gonna be taking money or reputation or whatever out of yourpocket and you really need to rethink the reasons why you're doing this in thefirst place.
Go back to one of my previous videos wherewhat where I ask you the question why are you doing this in the first place.
Sothe first thing that we've got to understand when we're asking thequestion how much does a website cost, how much do I spend on a website, we'vereally got to appreciate that all you're doing is you'retrying to give yourself what they call an 'anchor' This is literally just apsychological stake in the ground so that your brain can go "okay well I'vegot a point to start from" It really doesn't matter what that number is butit becomes your anchor: the first price you hear becomes your anchor and aroundthat point you will base all value judgments.
So be careful when you'reasking this question because you might end up with another massivelyoverinflated number that completely puts you off of even going down that routewhen actually you could have got something that worked for you at areasonable price, and if you get a number that's too lowyou're gonna look around and think "hey well this is all way too expensive" andnot actually start engaging in the conversations to help you understand thevalue that it could bring there is.
Another thing that you need to be reallyaware of when you're trying to create a budget for our website and that is thatyou like me like everyone else on the planetwe are naturally risk-averse: yeah we have loss aversion.
Most people agree withthe statement that "it is better to not lose five pounds than it is to find fivepounds" It's the same five pounds! It's weirdwe're hardwired to avoid losses.
We try and keep what we have and thereforewe're less likely to risk that in search of future gains so this means thatyou're naturally going to be skeptical about the gains that you can create witha website you're naturally gonna want to spend as little as possible andthat means that you're at a risk of actually under investing when you'rebuying a website Yourisk of under-investing because you're averse to loss.
I'm exactly the same: theamount of times that I've bought things that I need on say Amazon and gone forthe cheapest possible one because I wasn't entirely sure if, you know, if itwould bring me the thing that I was looking for - the reality is that I endup spending double because, you know, buy cheap buy twice.
But you can actuallyunder invest and if you do especially in something like a website it's like underinvesting in in your team member: if you if you hire a new salesman andyou under invest in him well then he's not gonna do as good a job as hepossibly could do if you're picking if you're picking your teammembers based on the salary that they're willing to accept then you're probablyunder investing and you're not actually realizing that if you spend a little bitmore you can get like disproportionately larger returns.
The third thing that youreally need to be aware of but before you start thinking about your budget iswhether you're coming from a pain perspective or a gain perspective.
Areyou looking to this website to help you reach new markets to help you, I don'tknow, dominate the competition; to help you boost sales/Is it a gain thing? Are you launching a new business a new product? Or are youlooking at it from a pain perspective? Are you looking at it and thinking wellhow can I use this website to help me automate things, cut costs, reduceoverhead - things like that.
Maybe you've got a whole bunch of bad reviews on yourexisting website and so you're almost being forced by your customers forced byyour marketplace to up your game what you're really trying to do there ismanage losses.
You approach these.
you can buy the same thing in two different waysand your experience and therefore what you're willing to spend completelychanges depending on whether you're coming from a pain or a gain perspective.
The final line on it is using an analogy that we use sometimesit's based around cars basically.
Are you are you just trying toget to and from work or are you trying to win Formula One the Formula One GrandPrix you need very different types of cars to be able to do each of thosethings.
There's no point in buying a Formula One car because when you pull upin the Sainsbury's car park you're gonna have nowhere to put your shopping.
Likewise there's no point in buying a Fiat Panda and taking it to the track.
Sothe better you can understand what type of race is that your business is tryingto win, or what type of things your business are trying to do with a websiteand what that's worth to you is the better you're gonna be able to startcreating a realistic budget and get a return that's more in line with yourexpectations.
My name is Aaron Taylor I'm helping youto make better decisions and have better conversations when you're buying awebsite.
till next time.
[singing] I fixed webdesign, said I fixed web design.