The Imagineering Model: Applying Disney Theme Park Design Principles to Instructional Design

Copyright © 2014 Louis J. Prosperi 1

2Copyright © 2014 Louis J. Prosperi



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In this section, we’ll look at what we mean by “Imagineering” to provide some context for the later sections of the presentation.

Copyright © 2014 Louis J. Prosperi

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“There’s really no secret about our approach. We keep moving forward–opening new doors and doing new things–because we’re curious. And curiosity keeps leading us down new paths. We’re always exploring and experimenting… we call it Imagineering–the blending of creative imagination and technical know-how.” -Walt Disney

Imagination = Gathering, Storing, and Recombining Information

“Everyone goes through a process of gathering information, storing it, and recombining it with other thoughts to produce something new.” – Tony Baxter SVP, Creative Development, Walt Disney Imagineering

As employed by Walt Disney Imagineering (WDI), “technical know-how” refers to disciplines used in creating theme part attractions.

The principles and practices of Imagineering can also be applied to other creative endeavors and disciplines, including:

• Marketing/Advertising

• Product Design and Development

• Game Design

• Information Development

• Technical Writing

• Information Architecture and Design

• Instructional Design


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In this section we’ll look at a number of principles and techniques/practices employed by WDI, and how these techniques and the principles that underlie them can be applied to instructional design.


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The bottom tier of the pyramid includes the foundation, or “cornerstones” of Imagineering. These techniques serve as the foundation upon which all other techniques and practices are based.

The second tier includes techniques focused on navigation and guiding/leading the audience, including how to grab their attention, how to lead the audience from one area to another, and how to lead the audience into and out from an attraction.

The third tier includes “pervasive” techniques that are used throughout the parks in different ways. You’ll find examples of these in nearly every land and/or attraction.

The fourth tier includes practices focused on reinforcing ideas and engaging the audience. It is the use of these techniques which helps make visits to Disney parks memorable.

The top tier contains a fundamental practice employed in all the other techniques. I call this “Walt Disney’s Cardinal Rule.”


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"Designing the guest's experience is what Walt's Imagineers came to call "the art of the show,” a term that applies to what we do at every level, from the broadest conceptual outlines to the smallest details, encompassing visual storytelling, characters, and color.” -John Hench

The Disney “Show” includes everything Guests see, hear, smell, or come in contact with when they visit Disney Parks or Resorts.

The concept of a “show” is used by Imagineers when they discuss the parks and attractions:

• Onstage vs. Backstage

• Cast Member vs. employee

• Good Show vs. Bad Show

Instructional Design

What is your “show”? Do you have a metaphor that communicates your mission like “show” does for WDI?

In instructional design, our mission is to educate/train our audience in some way.

Keeping the focus on the goal of developing an effective learning experience.


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“Story is the essential organizing principle behind the design of the Disney theme parks.…When we design any area of a Disney theme park, we transform a space into a story space. Every element must work together to create an identity that supports the story of that place….”

-John Hench

Story is the fundamental building block of everything WDI does.

Note that not all rides or attractions necessarily tell a story (as in a narrative), but every attraction is based in some way on upon a story of some sort. Also, an attraction's story is not always (or even often) a fully formed or fleshed out narrative (as in having plot, characters, with a beginning, middle, and end, etc.). Sometimes the "story" behind an attraction is perhaps better described as a "theme" or "concept" than what we often think of when we hear the word "story." For example, there is no actual story behind It's a Small World, The Haunted Mansion, or Pirates of the Caribbean, three of the best known attractions ever built by WDI. What all three attractions share, however, is the fact that each is built upon a strong "concept" or "core idea" that informs their every detail.


Identifying the “Story” or “Big Picture” of your curriculum:

• The primary subject around which the training is to be designed

• The purpose of the training you’re designing

This includes knowing what does and does NOT fit.

• Eliminate “tangential” topics where possible

• Example: Training on applications which leverage multiple technologies (Java, VB, etc.) is NOT the place to teach about those technologies.


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Designers are the guardians and arbiters of the creative intent of the environment.

Creative intent can be thought of as the specific design goals the designers want to accomplish with a specific project.

Put another way, a project’s creative intent defines the experience the designer hopes to create for their audience.

Example - Bibbidi Bobbidi Boutique:

• An environment that men find uncomfortable

• Young girls should think that Cinderella might show up at any moment


Focusing on your learning objectives:

• Remembering who your target audience is

• Every lesson, exercise, demonstration, etc. should add something significant to the learning experience

“How does this (topic, demo, quiz, etc.) enhance or support the student’s learning experience?”

• The “greatest idea” in the world is both worthless and useless if you can’t find an effective way to express it within the context of your training


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"The minute details that produce the visual experience are really the true art of the Disney themed show, its greatest source of strength. The details corroborate every story point, immersing guests into the story idea. …if one detail contradicts another, guests will feel let down or even deceived. This is why he (Walt) insisted that even details that some designers thought no guest would notice–such as the replicated period doorknobs on Main Street, U.S.A.–were important. Inappropriate details confuse a story's meaning.” -John Hench

Examples:

• Clothing on the figures (in the Hall of Presidents) are authentic reproductions of their respective eras, including the braces on Franklin Delano Roosevelt's legs.

• “… there are thirty-three shades of white in my palette–do you have a favorite?”

• Movie film motif at the All Star Movies Resort

"A detail should only be used if it is essential to the story in some way. There is a big difference between being overwhelmed with detail that really amounts to clutter, and the feeling of perfection that is real storytelling. As designers, we must not make the mistake of thinking that a "big look" with lots of detail is enough.” -John Hench


Details draw attention to themselves, so they need to be correct.

Knowing the appropriate level of detail.

Other techniques/practices directly related to Attention to Detail include Theming and Long, Medium, and Close Shots.


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Theme is the fundamental nature of a story in terms of what it means to WDI.

Theming is what set Disneyland apart and made it the first “theme park” and not just another amusement park.

Props, sets, costumes, and other decorative elements are all part of the theming of an attraction.

Levels of theming:

• Land-level (Fantasyland vs. Adventureland)

• Attraction-level (Maharajah Jungle Trek vs. Expedition Everest)


Striving to make sure that the training delivers its message in a clear and consistent manner, one that supports and (if possible) enhances the learning experience

Consistent use of:

• Language and terminology

• Templates and Styles

• Fonts, colors, logos, etc.

The next page is an example of inconsistent theming.


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An extreme example of bad theming in presentation design, featuring:

• Inconsistent use of fonts, colors, and styles

• Inconsistent use of animation

• Inconsistent and incorrect terminology.


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Long, medium, and close shots work like zooming in on details, or narrowing of the “camera” lens.

Examples of this technique can be found throughout all Disney parks, but some specific examples include:

• Cinderella Castle (Magic Kingdom)

• The Tree of Life (Animal Kingdom)

• The Twilight Zone Tower of Terror (Disney's Hollywood Studios)


Using differing levels of detail, moving from the General to the Specific


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“Imagineers have found that people respond to a wienie at the end of a corridor because it beckons them to continue further in their journey….The wienie promises that you will be rewarded for the time and effort to takes to walk down that corridor.” -John Hench

“The Matterhorn at Disneyland, the Tree of Life at Disney's Animal Kingdom, and Big Tillie, the stranded ship at Typhoon Lagoon, are all effective wienies: they set the stage, establish a mood, and draw the eye.” -John Hench

Weenies are important when laying out a sequence of story points in an organized fashion.

Other examples (Walt Disney World):

• Cinderella Castle (Magic Kingdom)

• Spaceship Earth (Epcot)

• The Twilight Zone Tower of Terror (Disney’s Hollywood Studios)

• Expedition Everest: Legend of the Forbidden Mountain

• Astro Orbiter (Tomorrowland)


Explaining the promise of the training to the audience

• What they will learn

• What sorts of examples the course will include


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Transitions are used between lands, and even within attractions where applicable.

For example, the transition from Main Street, USA to Adventureland should be a smooth one.

Transitions make use of “three-dimensional cross-dissolves,” providing subtle sensory clues that indicate change is happening.

“As guests walk from Main Street into Adventureland, walkway surfaces change from concrete to cut stone, wrought-iron hand railings give way to bamboo, Main Street’s music yields to growls and howls.” -John Hench


Creating transitions involves:

• Moving from General to Specific (i.e. employ Long, Medium, and Close Shots)

• Covering the basics first, then add layers of detail

• Discussing general applications of an idea before specific examples

Sometimes training needs call for a different ordering than might be employed in real world practice.

For example, complex or detailed steps in the midst of a process might be better addressed as separate topics.


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Storyboards are large pin-up boards used to post ideas, or to outline the story points of a ride or film

• Each story point or idea is on an individual sheet of paper or card

• Ideas can be easily moved and re-arranged


When using storyboards in curriculum development:

• Each “event” (topic, sub-topic, quiz, etc.) can be on an individual card

• Events can be re-arranged easily

Storyboarding can be done using physical storyboards, or software tools.

Mind Mapping is a form of storyboarding.

Storyboard is related to our previous technique Transitions.


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Many attractions make use of Pre-Shows and Post-Shows.

Pre-Shows can include:

• Themed areas in the queue

• Short films or presentations (Test Track, Mission: Space, Stitches Great Escape)

Post-Shows can include:

• Themed areas

• Follow-up activities (games, kiosks, etc.) – Mission: Space, Spaceship Earth, The Seas with Nemo and Friends


Pre-Shows identify what students should know (or know how to do) after each section of your training, including:

• What is the topic of this section

• How the topic relates to other topics (both those that have come before, and those that are coming after)

Post-Shows summarize and reinforce the material covered in each section of your training.


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Forced perspective is used throughout the parks in many different ways. One of the more classic uses is on Main Street, USA, where the buildings appear larger than they really are:

• First-floor facades are built at 90% of full size

• Second-floors facades are built at 80% of full size

• Third floor are still slightly smaller

Forced perspective is also used in most Weenies, including Cinderella Castle, and Expedition Everest.

Forced perspective can also be used to make objects appear smaller than they are. Snow White’s Grotto in Disneyland’s Fantasyland (see photo above) is an example of this.


In curriculum, design, forced perspective is often used to make topics/subjects seem smaller or simpler than they are.

Forced perspective is a means of simplifying complex subjects/topics via

• “Big Picture” overviews

• Diagrams

• Metaphors

• Etc.

Forced Perspective is related to “Read”-ability, our next technique.


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“Read”-ability is used in many attractions and areas within the parks, but is most prominently used in classic dark rides such as Pirates of the Caribbean and The Haunted Mansion.

Some of the best known uses of this technique in Pirates of the Caribbean include:

• Pirate Chess

• Dunking the Mayor

• The Wench Auction

• The Jail Scene


While not (usually) constrained by time, we still need to make sure the audience can quickly (and easily) understand the subject matter

Save this for complex topics.

This is not necessary for every idea or topic.


Copyright © 2011 Louis J. Prosperi 22

There are very few “still” places in Disney Theme Parks. Imagineers use kinetics to keep the atmosphere “alive” and vibrant.

A commonly seen use of kinetics is found in water fountains.

Kinetics is used both inside and outside attractions.

WDI often designs areas where multiple types of motion “overlap”, such as movement in both foreground and background.


Different types of content can include:

• Animation (but don’t over do it)

• Demonstrations (live and recorded)

• Hands-On Exercises (guided or independent)

• Interactivity (quizzes, polls, Q&A, etc.)

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It’s a small world, after all



It’s a small, small world

“It’s a Small World” by Richard M. Sherman and Robert B. Sherman

Music and songs are just one way Imagineers make Disney parks memorable.

They also use repetition, and other methods (as we discussed in Pre-Shows and Post-Shows) to help reinforce key themes and ideas.


Finding ways to reinforce key ideas and concepts:

• Repeating content in training materials

• Using multiple (and different) means to communicate important ideas (i.e. employing "Read"-ability))

• Performing the same tasks multiple times (for different exercises)


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Many guests at Disney parks enjoy the “hunt” for Hidden Mickeys

The photos above are from “HiddenMickeysGuide.Com: A Field Guide to Walt Disney World’s Best Kept Secrets,” a website authored by Steven M. Barrett, who publishes a book about Hidden Mickeys.


When designing courses, let students figure things out instead of simply telling them.

Concepts, ideas, and distinctions that students work out on their own are more likely to be retained.

Caveat: This does NOT mean you should leave important information out of your training.

Examples include:

• Questions that force students to think “outside” your training

• Test and quizzes that combine related concepts in different ways


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Consider the image in the slide above.

It depicts something you use nearly every day. Can you identify it?

A key piece of information is missing, but once that information is shared, you’ll likely never see the image in the same way again.

It’s the upper case version of the most common letter in the English language.

The letter exists in the white space.

The experience of finding a Hidden Mickey is similar to what happens when your brain “fills in” the missing pieces in the image above. Just as you’ll likely never see the above image in the same way again, once you find a Hidden Mickey you’ll likely never see it in the same way.

From Creative Elegance: The Power of Incomplete Ideas by Matthew E. May, and can also be found in his book “In Pursuit of Elegance: Why the Best Ideas Have Something Missing.”


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Walt Disney telling his workers to plus it, even when they think they had done their best, gave Disney films an extra edge when it came to quality animation.

He employed this same philosophy in his live-action films, theme parks, and everything he did, and it has become a tradition within the Walt Disney Company in general, and within Walt Disney Imagineering especially.


Remember: small changes can make a BIG difference



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In this section, we’ll look at the various stages in the Imagineering process, including:

• How WDI uses the process

• How the process can be applied outside the “Berm” to instructional design and curriculum development

• Where applicable, parallels to the ADDIE model are noted



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The process presented in here is a simplification of a much more involved process.

For example, the “Design” stage above comprises several related stages, including:

• Facility Design

• Ride Design

• Show Design

Similarly, the “Construction” stage comprises:

• Construction and Production - construction of facility

• Rockwork Engineering

• Show Installation - installation of show elements

• Test and Adjust

• Etc.


The “Imagineering Process” as outlined in this presentation is an extreme simplification of the “real” process. There are a number of reasons for this simplification:

1. The process as outlined in this presentation focuses on the main creative steps in the process, and does not address some of the more practical issues, such as project management, budgeting, etc.

2. The “real” process is extremely detailed and complex – far too much for anyone to remember. By reducing the process to “5 steps +2”, the hope is to present something that readers can easily remember.

3. This representation of the process employs one of the design principles that we looked at earlier: ‘“Read”-ability’. This is the practice of simplifying complex ideas so that audiences can quickly and easily “read” (understand) them.


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Example: The current location of “Stitches Great Escape” in Tomorrowland in Magic Kingdom at Walt Disney World has been home to four attractions:

• Flight to the Moon (1971 – 1975)

• Mission to Mars (1975 – 1995) -

• ExtraTERRORestrial Alien Encounter (1995 – 2003)

• Stitch's Great Escape (2003 – Present)

In the case of each subsequent attraction, the Need was to update/replace an existing attraction. In addition, each was designed to work within the constraints imposed by the existing facilities (theatre-in-the-round).

Other examples:

Expedition Everest: Legend of the Forbidden Journey at Disney’s Animal Kingdom Theme Park (“Animal Kingdom needs a thrill ride that fits within the overall theme of the park.”)

In instructional design, Needs Analysis asks questions such as:

• What objectives/goals should the training address?

• Who is the target audience?

• What are the topics I need to address?


Imagineering Brainstorming Rules:

• Rule 1: There’s no such thing as a bad idea.

• Rule 2: We don’t talk yet about why not. There will be plenty of time for realities later, so we don’t want them to get in the way of the good ideas now.

• Rule 3: Nothing should stifle the flow of ideas. No buts or can’ts or other “stopping” words. We want to hear words such as “and,” “or,” and “what if.”

• Rule 4: There’s no such thing as a bad idea. (We take that one very seriously.)

from The Imagineering Field Guide to Disneyland

We also visit this stage when we need to brainstorm ideas based on work at another stage (more on this later).


Concept Development vs. Concept Design

Concept design is where the ideas from a brainstorming sessions are fleshed out and developed into project proposals.

Concept development is about taking those ideas and further developing them such that real design work and project planning can be done to turn the idea into reality. As I understand it, the distinction between the two can be summed up as follows:

• Concept Design: Initial development of an idea so that others will understand what is being proposed and its creative intent.

• Concept Development: Further development of the idea so that it can be designed and built.



Models

WDI has recently moved to using computer models to streamline this stage even further.


Construction - the move from 2D to 3D. Includes the Test and Adjust stage.

Example: During Test and Adjust on the Crush-n-Gusher water slide at Typhoon Lagoon, lifeguards suggested changing the slides from 2 to 3 riders per slide.




Openings:

Attraction openings include previews, “Soft” openings, and Grand Openings.

With instructional design, “openings” include “Train the Trainer” and a First (or Beta) Teach.

Evaluations:

Feedback on attractions can lead to:

• Refurbishments

• Redesigns

• Closings (!)

Feedback on training courses typically leads to:

• Revisions

• Corrections


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In many cases, we can simply follow the process stage by stage from beginning to end.

However, there are times when we reach a stage, and have to go back to a previous stage to re-think or re-visit what we did previously. It’s also possible that new ideas might arise in a latter stage and cause us to go back to a previous stage to better take advantage of the new idea.

For example, if new ideas arise during Concept Development, we might go back to Blue Sky to work out the best way to integrate the new idea into the overall design. Likewise, if problems arise during Design, we might go back to Concept Development to work out the best way to address the problem in the design.

This flexibility isn’t unique to this process. The point here is that the processes we follow in our work aren’t carved in stone, and can be adjusted when needed.


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Example:

When creating curriculum for a complex subject, you might begin the process at the “macro” level (“Create implementer training for product XYZ”), but then realize you need to create multiple courses. In such a case, you might then adopt the process at the “micro” level, where you follow the process in the creation of each individual course.




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Techniques and the Imagineering Process - Which techniques/practices apply to which stage in the Imagineering process?

Imagineering Checklist Questions - Questions to help us utilize Imagineering Techniques and Practices when developing training


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It’s possible that every technique and practice outlined in this presentation can be applied during each stage of the process, but the tables on this page and the next outline the most likely places where the techniques and stages intersect.







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In this section, we share some recommended reading about Imagineering, and some closing thoughts.


These are some books that played a particularly strong role in helping me shape the ideas in this presentation, but are by no means the only books available on Imagineering.

More references can be found on page 55 (References – Books).



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References - Books

• Barrett, Steven M. 2009. Hidden Mickeys: A Field Guide to Walt Disney World’s Best Kept Secrets, 4th Edition. Branford, Connecticut. The Intrepid Traveler.

• Disney Imagineers, The. 2005. The Imagineering Workout: Exercises to Shape Your Creative Muscles. New York, New York. Disney Editions, Inc.

• Hahn, Don. 2008. The Alchemy of Animation: Making an Animated Film in the Modern Age. New York, New York. Disney Editions, Inc.

• Hench, John. Peggy Van Pelt. 1998. Designing Disney: Imagineering and the Art of the Show. New York, New York. Disney Editions, Inc.

• Imagineers, The. 2003. The Imagineering Way: Ideas to Ignite Your Creativity. New York, New York. Disney Editions, Inc.

• Imagineers, The. Kevin Rafferty. 1996. Walt Disney Imagineering: A Behind the Dreams Look at Making the Magic Real. New York, Hyperion.

• Imagineers, The. Melody Malmberg. 2010. Walt Disney Imagineering: A Behind the Dreams Look at Making More Magic Real. New York, New York. Disney Editions, Inc.

• Kurti, Jeff. 2008. Walt Disney’s Imagineering Legends and the Genesis of the Disney Theme Park. New York, New York. Disney Editions, Inc.

• Surrel, Jason. 2007. The Disney Mountains: Imagineering at Its Peak. New York, New York. Disney Editions, Inc.

• Surrel, Jason. 2003. The Haunted Mansion: From the Magic Kingdom to the Movies. New York, New York. Disney Editions, Inc.

• Surrel, Jason. 2005. Pirates of the Caribbean: From the Magic Kingdom to the Movies. New York, New York. Disney Editions, Inc.

• Wright, Alex. 2008. The Imagineering Field Guide to Disneyland. New York, New York. Disney Editions, Inc.

• Wright, Alex. 2007. The Imagineering Field Guide to Disney’s Animal Kingdom Theme Park at Walt Disney World. New York, New York. Disney Editions, Inc.

• Wright, Alex. 2010. The Imagineering Field Guide to Disney’s Hollywood Studios at Walt Disney World. New York, New York. Disney Editions, Inc.

• Wright, Alex. 2006. The Imagineering Field Guide to Epcot at Walt Disney World. New York, New York. Disney Editions, Inc.

• Wright, Alex. 2005. The Imagineering Field Guide to the Magic Kingdom at Walt Disney World. New York, New York. Disney Editions, Inc.


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References – Web Sites / Blogs

• Barrett, Steven M. 2010. Hidden Mickeys Guide.com: A Field Guide to Walt Disney World’s Best Kept Secrets (located at: http://www.hiddenmickeysguide.com)

• May, Matthew. 2009. Creative Elegance: The Power of Incomplete Ideas (located at: http://changethis.com/manifesto/show/58.01.CreativeElegance). Change This: We’re on a mission to spread important ideas and change minds.

• Spence, Jack. 2010. The “World” According to Jack (located at: http://land.allears.net/blogs/jackspence). AllEars.net: The Unofficial Planning Guide for Walt Disney World, Disneyland and the Disney Cruise Line.

Photo Credits

• “Long, Medium, and Close Shots” photos on page 15, “Weenies” photo on page 16, and “Forced Perspective” photo on page 20 are Copyright ©Jack Spence. Used with permission.

• “Read-Ability” photo on page 21 is Copyright ©Disney Enterprises, Inc. Used without permission.

• “Hidden Mickeys” photos on page 24 are Copyright ©Steven M. Barrett. Used with permission.

• “TEA’s Project Development Process Chart” on page 30 is Copyright ©1999, 2000, 2007 by The Tea (formerly Themed Entertainment Association). Used without permission.

Acknowledgements

The author would like to thank the following people:

• Steven M. Barrett, for the use of his Hidden Mickey photos. His Hidden Mickeys book and website are the ultimate resource when hunting for Hidden Mickeys.

• Jason Grandt, for the wonderful and engaging stories he shared with my family and I during our “Lunch with an Imagineer” in August 2010.

• Jack Spence and Allears.net, for the use of photos from “The “World” According to Jack.” His tours of Walt Disney World are some of the best out on the web, and his pictures are all worth a thousand words or more.


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About the Author

Name: Louis J. Prosperi

Title: Senior Manager, Documentation and Curriculum

Organization: Utilities Global Business Unit, Oracle

Business Phone: 781-993-7545

Business Email Address: [email protected]

Primary Responsibilities / Background:

Lou Prosperi is the Senior Manager of Documentation and Curriculum for Oracle's Utility Global Business Unit. Following a career in game design, Lou went to work as a technical writer and instructional designer and has been in that role for the last 15 years, providing user and technical documentation and training for enterprise applications used in the utilities industry. In his writing, Lou looks for ways to present complex technical subject matter in a manner that helps his audience learn more easily and efficiently. A self-proclaimed "Student of Imagineering," Lou's current area of interest is how to apply the principles and practices employed by Walt Disney Imagineering to other fields, including instructional design.

Education: Bachelor of General Studies, Roosevelt University, 1999

Other Contact Information / Social Media:

Personal Email: [email protected]

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The Imagineering Model: Applying Disney Theme Park Design Principles to Instructional Design

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attractions story

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