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Paper pads (usually 2 by 3 ft) provide in expensive visuals for small groups Pads, or a number of sheets of paper, clamped on light weight wooden or aluminum folding easels (as flip charts are) are easily portable and al ways ready to go The speaker can keep training material on the pad so that he can refer to it, or throw it away, as he wishes Pads are of real value to those who must lead discussions or run "brainstorming" sessions As each chart is filled, it can be tacked to a corkboard or clipped to a wire running along one side of the conference room This (a) provides the group with a continuous record of what has been dis cussed, (b) lets late-comers catch up to the discussion, without having to stop the dis cussion and have a review, and (c) helps in writing a good report of the meeting --the notes are right on the pad sheets Inexpensive rolls of white paper can be used for homemade charts Even brown wrapping paper will do if material such as lettering is added in a contrasting color which will stand out Material can be writ ten so that it can be read as the chart is un rolled like a scroll Rip charts and show cards Flip charts or show cards may be produced ahead of time or may include blank sheets or blank spaces for on-the-spot additions A hint for using flip charts is given by David Ogilvy, a highly successful advertising man "The best tool ever devised for explaining complicated plans to committees is the flipover easel, which the presenter reads aloud It has the effect of riveting the attention of everyone in the room on what you are saying Here I have some advice to offer It may sound trivial, but it can be crucial to the suc cess of the presentation as you read aloud, never depart from your printed text by a single word The tnck lies in assaulting your audience simultaneously through their eves and their ears If they see one set of words, and hear a different set, they become con fused and inattentive This does not preclude the speaker's use of additional material or interpolating the printed text As with other nonprojected visuals, the speaker adds personality and interest to the presentation (Fig 10-8) The use of assis tants may be justified for more dramatic effect Flip charts are made on heavy paper that has little show-through, but has sufficient flexibility to flip back over the easel Show cards are on a stiffer stock and must be hand held, placed individually on an easel or chalk board tray, or spiral bound (or notebook-ring bound) so that they can be flipped over For use on an easel, 2 ft wide by 3 ft high is an optimum size, for use on a desk top, 2 ft wide by 1V4 ft high is optimum Each sheet or card can have one to four illustrations, depending on how far the au dience is away To help m making the presentation, explanatory material can be placed on the back of each show card or chart for the instructor to read, or brief notes can be written in lightly in blue pencil on the face of the card or flip chart Notes are written small enough so that the instructor can read them, but yet they are "invisible" to anyone in the audience, if he is more than 6 or 7 ft awav Flannel boards A flannel board is a plywood board, com monly 3 by 4 ft, covered with dark flannel A number of frames can be fastened together or placed close together to form multiples of the original size Boll flannel can be tacked, tied, or other wise stretched over any large, flat, slightly inclined surface, including a chalkboard Art work or lettering can be made directly on a special velour-backed paper or on light weight cardboard or heavy-weight paper to which flocking paper with felt adhesive or strips is affixed In an emergency, sand paper can be used instead of the special flocking paper The flocking or sandpaper grips the long-napped flannel with sufficient strength to hold light-weight cards These individual cardboards, with words, designs, or messages on them, can be "slapped on" or built up to create a dramatic effect not possible with other visuals See Fig 10-5 * David Ogilvv, Confessions of an Advertising Man New York City 10017, Atheneum Publishers, 1963 233