Name: ALI FAIZUR REHMAN

Father Name: AL NASIR REHMAN

Student ID: 0000087678
Course Code: 8622
Subject : NON-BROADCAST MEDIA
Assignment: NO 2
Tutor: SIR SALEEM ULLAH
Address: AIOU, REGIONAL CAMPUS PESHAWAR

Allama Iqbal Open University

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Q.1 discuss the steps to be used in duplicating in distance
education.

Before learning the definition of a de system, you need to understand what distance education is. Also called
de, distance education is a mode of teaching that takes place remotely, using information and communication
technologies. Thus, it’s no longer necessary for teachers and students to be present in the same place or time to
learn. But, in order for distance education courses to work, it is necessary to have a system that manages and
automates these courses content and functions. And that is where the de learning system comes in. It allows the
management of all of this information in a more organized way, making remote learning very similar to in-
person teaching and without hindering students and teachers.
When we talk about distance education, it’s important to emphasize that we aren’t referring to 100% online
courses only. There’s also the hybrid model, where students have regular in-person meetings.
In common, both modalities use a virtual learning environment, or a platform or software that gathers a set of
tools that simulate a classroom. In this system, teachers manage the classes, monitor the students, and evaluate
the performance of each one remotely. Besides, the vle allows students to access all course content, such as
workbooks and video lessons. They may also include synchronous activities, which require the presence of
students and teachers in real-time, as in a videoconference, and asynchronous activities, where the teacher
prepares exercises for the students to do outside of the synchronous meetings.
When we talk about distance education, the courses can be divided into open courses and higher education.
Undergraduate and postgraduate courses
Recently, many universities and educational institutions have adopted the de system as a way of attracting new
students, offering undergraduate and postgraduate distance learning courses.
Currently, there are distance learning college courses in various areas, such as marketing, business
administration, and even engineering. Such a variety has contributed to the growth of the sector and, according
to education data, the online learning industry is projected to pass $370 billion by 2026.
Open courses
open courses, in turn, are those that offer training outside the academic scope. In other words, they don’t require
previous education or the need to take the sats to enroll.
Because of this, the time dedicated is shorter; the content is more direct and focused on learning specific skills
or the professional improvement of students. Therefore, there are open courses in a variety of topics, such as
language, cooking, beauty, personal finances, and business, among others.

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And because open courses are more informal, they don’t follow a single format and can be of short or long
duration, free or paid, for beginners or specialists, in person or online, etc. As you can see, the de system is a
model that is revolutionizing teaching and allowing thousands of people to share their knowledge or learn a new
skill.
But this is not the only advantage of the de model, which offers other benefits, such as:
 Flexibility: because it’s online, students find it easier to reconcile the course’s activities with
other activities.
 Location: de courses also offer more flexibility regarding the course’s location. Since there’s no
classroom, students can do the activities anywhere, as long as they have access to the internet.
 Cost-effectiveness: online courses are usually cheaper than traditional ones. This is because
they eliminate several expenses, such as renting a physical space and printing the didactic
material. Besides, the price of the course for students and their expenses with food,
transportation, and accommodations are also lower.
 Interactivity: even if activities do not take place in synchrony, online courses allow students
and teachers to interact very efficiently through real-time chat tools, e-mails, or video calls.
But of course, it’s not all roses, and the de system has certain disadvantages when compared to the
traditional model:
 Requires internet access: if the students don’t have access to a device with internet access,
such as a computer or smartphone, they may be prevented from accessing the course content.
 Difficulty in offering hands-on classes: in some cases, there is no possibility of offering
practical classes, especially those that require specific equipment or laboratories. This may
hinder the learning of certain skills.
 Lower retention: another fairly common problem with the de system is the greater difficulty in
keeping students engaged throughout the course. For this reason, the online course dropout rate
is usually higher than in traditional teaching.

How to implement a de learning system

Now that you know how the distance education system works, and the benefits it offers, it’s time to learn how
to turn your skills and knowledge into an online course.
1. Define your audience
The first step before turning what you know into an online course is to determine the profile of the students to
whom you want to teach.
Determining your target audience is critical when launching any product and the de system is no different. By
doing this, you’ll be able to determine the course’s format, the language style used in the materials, and even
which teaching strategies will be needed.

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When determining your audience, think about certain issues, such as age, income, geographic location and the
level of education of your prospective students.
2. Choose the course’s format
The next step is to choose the course’s format, i.e., how the content will be presented to the students.
One of the advantages of the de system is the vast range of different formats you can use, such as video
lessons, e-books, slide shows, podcasts or live videos.
The right format for your course will depend on your target audience’s profile. So choose wisely.
3. Set the duration for classes and the entire course
Another detail that cannot be left out of your planning is the duration of the classes or modules and the course’s
total time. As we explained earlier, open courses do not follow a pattern, and the workload can vary between a
few hours, days, weeks or even months.
Ideally, the duration should be proportional to the complexity of the subjects that you will be covering in class.
4. Prepare the content and didactic materials
The most important part of a distance learning course is the content of the lessons and didactic and support
materials. After all, it is through them that the students will learn the content you have planned.
Ideally, you should prepare a course plan, a syllabus outlining the path your students will follow from the first
class to its completion, and the skills that you expect them to have learned by the end.
Then, start developing the teaching materials that you will use in class, such as videos, presentations
and infographics.
Finally, also include support materials, such as spreadsheets, audio files and even lists with links to
complementary websites.
5. Choose a good de platform
Finally, you’ll need a place to host and make your course available online. Therefore, choose a de platform that
gathers all the necessary resources your course will need.
Overall, a good de platform needs to have certain features, such as:
 Responsiveness, i.e., adapt to mobile devices (tablets and cellphones), used by many students
who are looking for a de learning system
 Good learning environment, offering interfaces and features that facilitate learning
 Reliability, ensuring the security not only of the courses content but also of all course purchase
transactions, including students, financial and personal information;
 Compatibility with several course formats, such as video, audio, image, and live interaction
classes
 Accessible communication, with features such as sending direct messages between students and
teachers, discussion forums, and direct messaging chats during live classes.

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 ====================

Q.2 explain the re-graphic equipment’s to be available in every

resource centre.

Hardware
1. Pen and paper
The fastest, cheapest, and easiest way to transfer design ideas from your head to the real world is to use good
old pen and paper. Besides giving you a chance to stay off the grid for a few moments, analog sketches also
serve somewhat like the sacred link between the great graphic artists of the past and the new tech-enabled
designers of today.
More importantly, using pen and paper allows you to “ intuitively draw” the design concepts in your mind, and
quickly discover problems and solutions as your sketches take rudimentary shape. Research even shows that
taking notes, doodling, and writing by hand enhances focus, creativity, and openness to learning.
If you’re passionate about this creative method, then go all the way by investing in iconic pencil (rotring, faber-
castell, etc) and notebook brands (moleskine, field notes, etc.).
2. Computer
For digital creatives, this is the ultimate tool that performs all the heavy lifting in the profession. If you can
afford the best and most powerful — the imac pro or the surface studio, for example — do so by all means.
The imac sustains a loyal following of hardcore designers largely by including coolness in its core features. But
branding is hardly the whole story. The latest imac pro is considered overkill by any standard: having a 27-inch
5k retina display, 32-gb memory, a 16-gb graphics card, and an 18-core processor for the high-end variant.
Meanwhile, microsoft surface studio is a worthy rival capable of shifting the balance by giving pc loyalists
major bragging rights for (finally) owning something remarkably sleek, powerful, and agile — all in one
surprisingly elegant package. You can use it in its traditional desktop mode with a stylishly thin 28-inch
pixelsense display; or transform it into a large, touch-screen tablet — an instant digital drawing board — for fast
and intuitive designing, especially with the responsive surface pen thankfully thrown in to punctuate the
statement.
However, if just salivating over these dream workhorses makes your wallet groan, there’s no shame in making
do with what the rest of humanity uses. Any decent computer that can adequately handle graphics software and
reliably connect to the cloud can sustain your life as a modern-day graphics designer.

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3. Stylus and graphics tablet
Creatives who have a dominant tech gene in their dna will likely prefer the digital equivalent of pencil and
paper for their sketching and doodling tasks. When it comes down to it, even their more traditional cousins who
sleep with analog pens in hand sometimes seek the souped-up functionalities of an electronic pencil and paper.
So if you find yourself craving a hybrid tool that allows you to continue making hand drawings like a classical
artist but using the tools of a tech geek, don’t be embarrassed nor feel that you are betraying the trade. Instead,
check out state-of-the-art tools such as the industry standard wacom tablet/pro pen and the versatile ipad pro in
tandem with the apple pencil.
Either could simulate the authentic feel of drawing sketches or creating wireframes, in addition to giving you
some wicked capabilities (instant color, filters, eraser, storage, superb editing, etc.) That you just can’t execute
using ordinary pen and paper.
4. Smartphone
This gadget helps us connect with peers, customers, and the world wide web. It also hosts your favorite apps —
including really handy on-the-go drawing and image-editing tools. Plus, the smartphone doubles as a decent
camera for unexpected moments when you need one and your sturdy canon or nikon is snug as a bug inside its
case back at home.
For web designers, a smartphone on hand is also the easiest way to find out whether a specific web page design
properly renders on small screens. As can be expected, graphic designers don’t agree on which smartphone
model is the best for their profession, but you’ll find loud voices supporting either samsung’s flagship galaxy s
phones as well as apple’s latest iphone iteration.
5. Camera
For creatives who need to take, edit, and manage hyper-precise photos and videos, nothing but a decent dslr
(digital single lens reflex) will do. And when dslrs are concerned, two iconic brands — the canon eos and nikon
d-series — lead the pack. Both are pricey of course and if budget is a big issue, there are more affordable
alternatives in the market that are also capable of capturing pixel-perfect shots.
6. Color space reference
Never settle for counterfeit colors. For the uninitiated, a shade of color that resembles blue might as well be
blue, but for design professionals, color accuracy and rendering precision matter big time.
If your work has a significant print component, having a color space reference is a must. The pantone matching
system is recognized as the industry standard and you can invest in the formula guide for nearly 2000 spot
colors, the basic color bridge set, or mini color swatches depending on your client portfolio and design focus.
7. Monitor calibrator
Another way to control runaway colors is to use monitor calibrators. These devices ensure that the colors you
see on your screen will be exactly the same ones that come out in printed outputs such as posters, brochures,
and magazines.

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X-rite and datacolor are the leading monitor calibrator brands, with colormunki smile and spyder5express as
their respective entry-level models.
8. Storage
While cloud storage is already available, many graphic designers still opt to have backup physical storage
devices close at hand. Because entire libraries of images and videos can easily eat up storage space, you may
want to invest in high-capacity, portable models such my passport series from western digital and ministation
extreme nfc from buffalo.
Choose models with at least a terabyte of storage. Designers who have larger budgets and prefer super-fast
plug-and-play processing will likely go for solid state drives (ssd). If you belong to this group, then samsung’s
t3 ssd —which comes with 1-terabyte of storage space — is a good option.

Software
9. Graphic design applications
This is the largest and arguably most important part of a digital artist’s tool stack. Whether installed to run from
a desktop computer or offered as a cloud-based service, these software applications enable graphic designers to
create, edit, store, and manage their creative output: photos, images, videos, presentations, brochures, and other
visual formats.
The adobe creative cloud sets the standard for this tool type, providing a full suite of applications for creating
and manipulating raster graphics (photoshop), vector images (illustrator), videos (after effects, premiere pro),
and different desktop publishing formats such as posters, magazines, brochures, and ebooks (indesign).
Paid alternatives to specific applications in adobe’s subscription service include serif’s affinity designer (vector)
and affinity photo (raster), coreldraw (vector), and the macos-exclusive sketch (vector).
Free tools with similar capabilities include gimp (gnu image manipulation program) for authoring and
manipulating raster images and inkscape for creating and editing vector graphics.
10. Online graphic design services
With the advance of cloud computing technology, several companies started offering web-based graphic design
services that primarily target general consumers (i.e., non-professional/occasional designers).
Foremost among these providers is canva, a simple drag-and-drop online tool that allows anyone to quickly
author, edit, and share images. The website is perfect for non-designers as well as hardcore creatives
occasionally looking for a quick way to create images for various purposes (e.g., blog illustrations, social media
posts, etc.) And in various formats (e.g., infographics, presentations, header images, etc.). Snappa offers a
similar service and interface, or you might consider design wizard to quickly create both images and videos.
Another option is venngage, a template-based design tool that lets anyone create professional content
like business presentations, white papers, reports, marketing materials and more. The tool provides users with
access to over 10,000 icons, thousands of stock photos, and tons of customizable charts and graphs.

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Additionally, you can use pixlr for simple photo-editing online; invision for collaborative screen prototyping;
and artboard studio for quickly creating product mockups.
11. Graphics repositories
Online libraries of images such as shutterstock, behance, and depositphotos are great places to visit and get
design ideas from. Some of these repositories (such as pixabay, pixelify, and unsplash) even provide free
downloadable images you can legally use in your projects.
12. Cloud storage
You have your hard drive and portable storage. That's well and good, but you still need a space in the cloud to
store, synchronize, and manage your design assets, projects, and output. Among other things, cloud storage
makes it easier to share and collaborate on design documents, besides being accessible anytime and anywhere —
which is hardly the case when you forgot to bring your portable physical drive to work.
Creating a profile or an account for some online services can entitle you to limited cloud storage space. This is
the case when you have accounts for google (google drive), microsoft (onedrive), and adobe (document cloud).
Cloud storage providers such as pcloud, dropbox, and mediafire also give free storage space. However, free
options generally entitle you to only 1gb to 15gb of free space so you might want to check out subscription fees
at these services if you need larger storage.

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Q.3 discuss the operations involved in programmed learning.

The term educational technology has a wide range of application at present. The examples of educational
technology include both hardware and software learning sequences. In the hardware, we find the teaching
machines, the computer-assisted instruction, the learner- controlled instruction and the cctv. The examples of
software instructional sequences are programmed learning material either in the book form or in a teaching
machine form and various types of self- instructional materials.
Programmed learning is the most appropriate example of the latest concept of instructional technology. It is
educational innovation and auto-instructional device. It is not only a technique for effective learning but also a
successful mechanism of feedback device for the modification of teacher-behaviour.

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Programmed learning has arrived on the educational scene mainly due to the laboratory experiments of prof b.f
skinner. Prior to skinner the concept of “ conditioning” as presented by pavlov and watson and the ‘ law of
effect’ as formulated by thorndike are the main historical links in the developing chain of important events.
The procedure for shaping behaviour as developed by skinner was called ‘ operant conditioning’ and this
finally becomes the basis for programmed learning technology. Now it has become an established form of
technology of teaching.
According to prof. Gagne, programmed learning consists of making teaching models which take into account
the initial and terminal response of the student, are graded in accordance with a detailed schedule and permit
intermediate assessment of the strategies employed.
1. The terminal behaviour is presented step by step using the principle of successive approximation.
2. At every step the learner has to make a response.
3. The response of the learner is reinforced by the knowledge of result.
From the above discussion, it may be noted that, programmed learning is a practice of breaking down a body of
subject matter into its constituent elements and requiring the pupil to master one step before proceeding to the
next it allows for more pupil involvement in the learning process. Since it is a self-institutional device, it is
mostly individualised. In this technique learning is more rapid as well as interesting. It is directed towards
specific objectives.
Programmed learning is based on certain basic concepts which have been derived from experimental work of
operant conditioning.
These are as follows:
1. Stimuli & responses:
A stimulus is that aspect of an environment which guides or controls the behaviour of an individual. It is any
condition, event, or change in environment of an individual which produces a changing behaviour. For example,
a question is asked by a teacher, is a very familiar stimulus in the class-room teaching.
A response is a part of, or a change in a part of behaviour. The example of a response is the’ answer’ given by
students when faced with a question.
2. The transfer of stimulus control:
When the learner’s responses from the stimuli of initial behaviour, get transferred to the appropriate stimuli, this
is called transfer of stimulus control.
3. Prompting:
A prompt is a supplementary stimulus added to the another stimulus for facilitating an errorless response.
4. Gradual progression:
It means step presentation of material in a logical sequence.

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Various forms of programmed learning modules have been reported. This includes software which is mainly
represented by linear, branching and mathetics. The other form is hardware which is represented by learner
controlled instruction (lci) computer assisted instruction (cai) and teaching machines.
Linear programme is one in which every learner follows the identical sequence, that is, the frames or didules are
encountered in a single, pre-arranged order. The proponent of this type of programme style is b.e skinner
(1958).
Branching programme is one where the particular response emitted on a frame or didule determines the
alternative frame/ frames, the learner proceeds to next. The proponent of this programme type is norman
crowder (1960)
Mathetics is one in which there is the systematic application of reinforcement theory to the analysis and
construction of complex repertoires. This also represents mastery of subject matter.
In it, the behaviour is generally classified as in involving discrimination, generalisation, and chaining. This style
is considered to be an extension of the linear model of programming. The exponent of this style is thomas e
gilbert (1962).
Computer-assisted instruction is one where use of the computer as a highly adaptive teaching machine weakens
the distinction between software and hardware. This type of instructional module was developed by stolurow
and davis.

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Q.4 elaborate the importance of programmed instruction in

developing countries.

Programmed instruction (pi) was devised to make the teaching-learning process more humane by making it
more effective and customized to individual differences. B.f. skinner’s original prescription, although it met
with some success, had serious limitations. Later innovators improved upon the original notion by incorporating
more human interaction, social reinforcers and other forms of feedback, larger and more flexible chunks of
instruction, and more attention to learner appeal. Although pi itself has receded from the spotlight, technologies
derived from pi, such as programmed tutoring, direct instruction, and personalized system of instruction have
compiled an impressive track record of success when compared to so-called conventional instruction.
They paved the way for computer-based instruction and distance learning. The success of the pi movement can

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be attributed largely to the commitment of its proponents to relentless, objective measurement of effectiveness.
During the first half of the 20th century, research and theory in american psychology tended to revolve around
the perspective of behaviorism, and thorndike’s (1911) theorems—the law of recency, the law of effect, and the
law of exercise—remained at the center of discussion for decades. In the 1920s sidney pressey, a psychology
professor at ohio state university, invented a mechanical device based on a typewriter drum, designed primarily
to automate testing of simple informational material (1926). As he experimented with the device he realized that
it could also provide control over drill-and-practice exercises, teaching as well as testing. In explaining why his
device was successful he explicitly drew upon thorndike’s laws of recency, effect, and exercise as theoretical
rationales (pressey, 1927). Unfortunately, despite the fact that pressey continued to develop successful self-
teaching devices, including punchboards, that had all the qualities of later “ teaching machines,” his efforts
were essentially a dead end in terms of a lasting effect on education. However, pressey lived and worked long
enough to participate in the discussions surrounding the new generation of teaching machines that came along
in the 1950s.
The movement that had a more enduring impact on education and training was animated by a reframing of
thorndike’s behaviorist principles under the label of radical behaviorism. This school of thought proposed a
more rigorous definition of the law of effect, adopting the term reinforcer to refer to any event that increases the
frequency of a preceding behavior. Operant conditioning, the major operationalization of this theory, involves
the relationships among stimuli, the responses, and the consequences that follow a response (burton, moore &
magliaro, 2004, p. 10). The leading proponent of radical behaviorism, b.f. skinner, demonstrated that by
manipulating these three variables experimenters could elicit quite complex new behaviors from laboratory
animals. Having analyzed the deficiencies of group-based traditional instruction, skinner (1954) proceeded to
develop a mechanical device (shown in figure 1) that could overcome the limitations of lock-step group
presentation, replacing it with individually guided study in which the contingencies of reinforcement could be
carefully controlled. In skinner’s new format the content was arranged in small steps, or frames, of information.
These steps lead the learner from the simple to the complex in a carefully ordered sequence, and, most
importantly, at each step the learner is required to make a response—to write or select an answer. The program
then judges whether the response is correct. The theory dictated that the learner should then receive some sort
of reinforcer if the response were correct. In skinner’s method, the reinforcer took the form of “ knowledge of
correct response,” that is, telling the learner the right answer or confirming that they got the right answer. The
main purpose of the mechanical elements of the system was to ensure that users could not peek ahead at the
correct answers. The next step in the sequence could only take place after a response was written inside a little
window frame and a lever pulled to cover the learner’s response with a transparent cover while revealing the
correct answer. The device, referred to by others as a teaching machine, soon gained national attention and
attracted a following of eager software authors. The instructional format used in teaching machines became
known as programmed instruction (pi), and this new technology became a popular subject of educational

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research and development by the late 1950s. Within a few years developers were dispensing with the elaborate
mechanical apparatus, instead relying on users (rightly or wrongly) to discipline themselves and refrain from
peeking ahead at the correct answer. Thus pi lessons could be published in book format, with short instructional
units (“ frames” ) followed by a question, with the correct answer lower on the page (to be covered up by the
user) or on the next page. Released from the necessity of providing hardware along with the software,
publishers rushed to produce books in programmed format. The original programs devised by b.f. skinner and
his followers led users through a pre-specified sequence of small steps. Shortly after skinner’s invention,
norman crowder introduced a variation that was not founded on any particular theory of learning, but only on
practicality. It featured a more flexible programmed lesson structure that allowed learners to skip ahead through
material that was easy for them or to branch off to remedial frames when they had difficulty.

======================

Q.5 how a teacher prepares and use of flannel board in

teaching learning process?

He second major class of non-projected display media that we will l ook at consists of those where display
material is stuck to the display surface in some way. The most important members of this class are felt boards,
hook- and-loop boards and magnetic board etc. Flannel graph a flannel graph also known as the felt board or
flannel board is a display board made of wood, cardboard or straw-board covered with colored flannel or
woolen cloth. Display material like the cut-outs, pictures, drawings and light objects backed with rough surfaces
like sand paper and strips, flannel strips, etc. Will stick to the flannel board temporarily. The sand paper backed
display materials can be detached easily and replaced with new relevant materials as the lesson progresses. A
flannel board of 1.5 × 1.5m is most widely used. It can be fixed to next to the chalk board or can be placed on a
stand about one meter above the ground. The display material can be singularly adhered on the flannel board
and then removed for replacing it with the next material in a sequence for proper development of a lesson. Uses
a flannel board can be used in a variety of ways and a resourceful teacher may find numerous applications of
this visual aid. Some of the points to be kept in mind while using flannel board are as follows; 1. Collect
pictures, light objects or make outs and back them with sand paper pieces. 2. Display the material on the flannel
board in a sequence to develop the lesson. 3. Change the pictures or cut-outs as you talk to the students. 4. Use
the flannel board to create proper scenes and designs relevant to the lessons. Many good teachers and educators
have used flannel board in the following situations ; 1. For telling story, the teacher adheres the picture on the

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flannel board along with a commentary or description. 2. For letter recognition and work formation during
language teaching in primary classes. This is done by cutting out big letters from chart papers and backing them
with sand paper strips. 3. For recognition and recall testing, appropriate pictures can be used for teaching
different subjects. 4. For teaching elementary lessons on numbers, a flannel board can be used effectively. 5.
For playing interesting and educative zig-saw puzzles, a flannel board can be quite useful. 6. For showing
interrelationship between different parts or steps of a process, a flannel board can be used effectively e.g.
Nursing process. Charecteristics some characteristics of flannel graph: visual: it visualizes theoretical ideas. It
helps to recreate situations involving motions. It visualizes dimensions and colour. It helps to recreate part.
audio: it creates events through dramatisation. It recreates environment. utilization it permits any sequence or
arrangement. It permits restudy. It permits discussion. It can be produced locally constructing a flannel graph its
construction being very simple many teachers would like to make their own boards from the materials which
they can get locally and easily. For its preparation three items are needed i.e. Backing materials, covering
material and fixing material. Backing material: it may be plywood, press-board, massonite, wall-board or heavy
card board. It must be firm but not too heavy to carry. Covering material: it may be flannel or velour, suede,
corduroy or khadi. Almost any color can be used but darkgreen, black and grey afford excellent contrast for
other colors that may be used in presentation. Fixing material: rubber cement, tape or staples, nails, thumb
tacks, drawing pins etc. Can be used to fix the covering material on the board. Size: before preparing the board,
the purpose of using it must be kept in view. If it is used for classroom demonstration it may be 4' x 5'. If the
boards are to be used by individual children, relatively small size would do. Forms and shapes: some of the
forms are illustrated here. Construction: after selecting the appropriate size, cut the selected cloth to fit the
board allowing three inches for overlapping edges. Stretch the cloth and fasten it tightly with the help of staples
or thumb tacks. Be sure that there are no wrinkles on the board because they will cause the material to fall. In
case staples or drawing pins are not available, cloth may be tied with sulti and nee dle by catching the edges of
the cloth on the back of the board. In case both sides of the board are to be covered, then two equal pieces of
cloth may be cut and the same may be fixed on each side. Three sides may be first sewn and after slipping the
board in it the fourth side may be sewn. Small individual boards may be prepared for children. In nursery
classes the top of the biscuit boxes may be covered with flannel or any sensitized material and the box may be
used for holding the cut-outs. Advantages there are many advantages of flannel boards as they can provide
continuity in the development of a lesson. A flannel board display holds interest of students and arrests their
attention. The provision of sequential change of material on flannel board provides continuity in lesson
development. The quickness and ease with which the display materials can be changed on a flannel board
without use of drawing pins or tracks or paste make it a most desirable and convenient display board. The
flannel board is a stationary or portable surface covered with a rough flannel-like cloth, usually in black, dark
blue or grey colour. It can be used for displaying various objects such as pictures, magazines or newspaper cut
outs, graphs drawings, text book material and illustration.

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An outstanding feature of the flannel board is that the objects to be placed on the board have flannel like
backing and so adhere to it without the use of any tape. This enables the teacher to develop an idea step by step
in a very dramatic and impressive manner.
In teaching, the flannel board serves a function similar to that of a chalk-board. The boards may be designed in
any size, depending upon the needs of the teacher as regards the amount of material to be covered and the time
allotted for the presentation. Again, the use of the flannel board depends upon the learning situation.
The specific technique to be employed in the use of the board is determined by the nature of the material to be
covered in the class-room. The possibilities of using the flannel board in teaching are quite sufficient in every
subject in the curriculum.
It is a useful device for teaching arithmetic, science, social studies, languages, fine art, music, industrial and
home economics.
Kindergarten-primary teachers are now using the flannel board to supplement story-telling, and to help children
grasp the rudiments of reading. Stories, poems, essays, etc. In teaching languages can be effectively illustrated
through the f.b. flannel board media can be used in every level of school as well as the lesson, including english
subject. To teach a foreign language, the teachers usually use several methods and approach in order the
students may reach the target language. Here are a number of ways teachers can develop students’ ability in
memorizing new vocabularies by using flannel board media.
 Firstly, teachers serve the material about introducing new words by flannel board media.
 Students try to spell the pronunciation of the words that related to the picture on flannel board by
teachers assistance
 Students try to mention the words which is appropriate to the picture
 Students try to gear and match the word that they already heard from teacher to the picture stick on
flannel board
 Students relate the picture and the words written in english on the flannel board
Those are some tips for teacher who wants to teach and develop students, vocabularies, however, teacher
might not really awkward by focusing to them because the flannel board media is really flexible and helpful in
teaching various lesson.

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