The Ultimate On-Page SEO Checklist For 2025 + Cheat Sheet

You can improve your SEO score by fixing the errors and issues that the Seobility SEO checker found on your website. The task list of SEO improvements will show you which issues are the most important ones as eliminating them will have a noticeable impact on your SEO performance. Those are the tasks that you should first tackle when starting with the optimization of your website. For instance, one of the biggest off-page SEO factors is backlinks. When your audience spends more time on your page, it sends a positive signal to Google that your page is valuable. Google takes duration spent on your site into account when it ranks your site.

So if you link to other pages on your website using the right keywords, it may be a signal for Google to rank them higher for these keywords. It helps both Google and users to understand what the linked website is about. Although keyword in the URL most probably doesn’t influence your ranking in any way, it is a good step that can improve the overall UX and the CTR. It is best practice to use the focus keyword in the title tag of your page.

on-page seo

Are you wasting money in Google Ads?

Then, organise all your content into a clear silo structure where similar content will be grouped together. Just check out my video below where I ran a test to see how important EXIF data is to Google. It will ensure people actually see what you have to offer and increase conversions.

on-page seo

Optimize Old Content For User Intent

on-page seo

You have a previous blog post you made where you discussed the best types of chocolate for baking. When you optimize your URLs, make sure you use your page’s core keyword within the URL’s end portion. For example, if someone searches “chocolate,” it’s hard to know the intent behind that search. Optimizing on-page SEO is entirely different from SEO Anomaly off-page SEO, which is optimizing for external signals that take place off of your website (for example, backlinks). The free Seobility plan already includes a comprehensive SEO site audit for up to 1,000 subpages! To sum up, on-page SEO uses factors that can be controlled, while off-page SEO uses factors that can’t be controlled.

Create engaging and descriptive meta descriptions for each page. These snippets should provide a brief overview of the page’s content and include targeted keywords. Well-crafted meta descriptions can improve click-through rates from search engine results pages.

on-page seo

It impacts your website’s visibility on search engines and the user experience on your site. On-page SEO includes all activities that help optimize a single web page. The goal is to improve its visibility and keyword ranking on search engine results pages.

What are on-page SEO ranking factors?

If your content is teaching people how to cook rice, it should show them a new way to cook rice and not the way every other blog post on the internet is showing them. Search engines work hard to reduce the amount of duplicate content in their results. This ensures the same content can’t rank for the same primary keyword twice. Indeed, structured data schema markup will, where appropriate, give your result more info such as star rating, pricing, stock availability and review stars. Your meta description tag is a factor Google pays attention to. This is important for rankings and ensuring higher click-thru rates from the organic search results.

These metrics provide insights into how users interact with your content and whether it satisfies their expectations. Fresh content also gives you opportunities to target trending keywords. For example, updating a blog post with recent data can help it rank higher for related queries. Image optimization is crucial for improving page load speed and enhancing SEO. Large images slow down your site, frustrating users and hurting rankings. Well-structured, clear content makes it easy for users to find information quickly.

Posted: June 26, 2025 12:25 pm


According to Agung Rai

“The concept of taksu is important to the Balinese, in fact to any artist. I do not think one can simply plan to paint a beautiful painting, a perfect painting.”

The issue of taksu is also one of honesty, for the artist and the viewer. An artist will follow his heart or instinct, and will not care what other people think. A painting that has a magic does not need to be elaborated upon, the painting alone speaks.

A work of art that is difficult to describe in words has to be seen with the eyes and a heart that is open and not influenced by the name of the painter. In this honesty, there is a purity in the connection between the viewer and the viewed.

As a through discussion of Balinese and Indonesian arts is beyond the scope of this catalogue, the reader is referred to the books listed in the bibliography. The following descriptions of painters styles are intended as a brief introduction to the paintings in the catalogue, which were selected using several criteria. Each is what Agung Rai considers to be an exceptional work by a particular artist, is a singular example of a given period, school or style, and contributes to a broader understanding of the development of Balinese and Indonesian paintng. The Pita Maha artist society was established in 1936 by Cokorda Gde Agung Sukawati, a royal patron of the arts in Ubud, and two European artists, the Dutch painter Rudolf Bonnet, and Walter Spies, a German. The society’s stated purpose was to support artists and craftsmen work in various media and style, who were encouraged to experiment with Western materials and theories of anatomy, and perspective.
The society sought to ensure high quality works from its members, and exhibitions of the finest works were held in Indonesia and abroad. The society ceased to be active after the onset of World War II. Paintings by several Pita Maha members are included in the catalogue, among them; Ida Bagus Made noted especially for his paintings of Balinese religious and mystical themes; and Anak Agung Gde Raka Turas, whose underwater seascapes have been an inspiration for many younger painters.

Painters from the village of Batuan, south of Ubud, have been known since the 1930s for their dense, immensely detailed paintings of Balinese ceremonies, daily life, and increasingly, “modern” Bali. In the past the artists used tempera paints; since the introduction of Western artists materials, watercolors and acrylics have become popular. The paintings are produced by applying many thin layers of paint to a shaded ink drawing. The palette tends to be dark, and the composition crowded, with innumerable details and a somewhat flattened perspective. Batuan painters represented in the catalogue are Ida Bagus Widja, whose paintings of Balinese scenes encompass the sacred as well as the mundane; and I Wayan Bendi whose paintings of the collision of Balinese and Western cultures abound in entertaining, sharply observed vignettes.

In the early 1960s,Arie Smit, a Dutch-born painter, began inviting he children of Penestanan, Ubud, to come and experiment with bright oil paints in his Ubud studio. The eventually developed the Young Artists style, distinguished by the used of brilliant colors, a graphic quality in which shadow and perspective play little part, and focus on scenes and activities from every day life in Bali. I Ketut Tagen is the only Young Artist in the catalogue; he explores new ways of rendering scenes of Balinese life while remaining grounded in the Young Artists strong sense of color and design.

The painters called “academic artists” from Bali and other parts of Indonesia are, in fact, a diverse group almost all of whom share the experience of having received training at Indonesian or foreign institutes of fine arts. A number of artists who come of age before Indonesian independence was declared in 1945 never had formal instruction at art academies, but studied painting on their own. Many of them eventually become instructors at Indonesian institutions. A number of younger academic artists in the catalogue studied with the older painters whose work appears here as well. In Bali the role of the art academy is relatively minor, while in Java academic paintings is more highly developed than any indigenous or traditional styles. The academic painters have mastered Western techniques, and have studied the different modern art movements in the West; their works is often influenced by surrealism, pointillism, cubism, or abstract expressionism. Painters in Indonesia are trying to establish a clear nation of what “modern Indonesian art” is, and turn to Indonesian cultural themes for subject matter. The range of styles is extensive Among the artists are Affandi, a West Javanese whose expressionistic renderings of Balinese scenes are internationally known; Dullah, a Central Javanese recognized for his realist paintings; Nyoman Gunarsa, a Balinese who creates distinctively Balinese expressionist paintings with traditional shadow puppet motifs; Made Wianta, whose abstract pointillism sets him apart from other Indonesian painters.

Since the late 1920s, Bali has attracted Western artists as short and long term residents. Most were formally trained at European academies, and their paintings reflect many Western artistic traditions. Some of these artists have played instrumental roles in the development of Balinese painting over the years, through their support and encouragement of local artist. The contributions of Rudolf Bonnet and Arie Smit have already been mentioned. Among other European artists whose particular visions of Bali continue to be admired are Willem Gerrad Hofker, whose paintings of Balinese in traditional dress are skillfully rendered studies of drapery, light and shadow; Carel Lodewijk Dake, Jr., whose moody paintings of temples capture the atmosphere of Balinese sacred spaces; and Adrien Jean Le Mayeur, known for his languid portraits of Balinese women.

Agung Rai feels that

Art is very private matter. It depends on what is displayed, and the spiritual connection between the work and the person looking at it. People have their own opinions, they may or may not agree with my perceptions.

He would like to encourage visitors to learn about Balinese and Indonesian art, ant to allow themselves to establish the “purity in the connection” that he describes. He hopes that his collection will de considered a resource to be actively studied, rather than simply passively appreciated, and that it will be enjoyed by artists, scholars, visitors, students, and schoolchildren from Indonesia as well as from abroad.

Abby C. Ruddick, Phd
“SELECTED PAINTINGS FROM THE COLLECTION OF THE AGUNG RAI FINE ART GALLERY”


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