Professional Documents
Culture Documents
Lou Prosperi
Oracle
Keywords:
Instructional Design
Imagineering
This presentation is not endorsed by, sponsored by, or connected with The Walt Disney Company
and/or Disney Enterprises, Inc. in any way.
The mention of names and places associated with The Walt Disney Company and/or Disney
Enterprises, Inc. are not intended in any way to infringe on any existing copyrights or trademarks of
The Walt Disney Company and/or Disney Enterprises, Inc. but are used for educational purposes.
What is Imagineering?
In this section, we’ll look at what we mean by “Imagineering” to provide some context for the later
sections of the presentation.
“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
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
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
Blue Sky
Concept Development
Architecture
Models
Construction
For example, the “Architecture” stage above comprises several related stages, including:
• Facility Design
• Ride Design
• Show Design
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.”)
Concept Designs can be expressed as, sketches, paintings, written descriptions, models, verbal
pitches, etc.
We also visit this stage when we need to brainstorm ideas based on work at another stage (more on
this later).
Concept Development - the follow up to Blue Sky, where the concept created in Blue Sky is
further developed before Design/Architecture begins. Output includes concept paintings, drawings,
text pieces, etc.
Architecture - output includes elevations, blue prints, specifications, plans, color boards
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.
Blue Sky - how do we address the needs identified during Needs Analysis.
This stage often takes place in parallel with the Construction stage.
Construction - at this stage, we create the various drafts (review, final, etc.) of course materials.
This stage often takes place in parallel with the Model stage.
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 (!)
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
Architecture, 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.
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.
Screen it
Discuss it
Get the sinking feeling that you don’t know what you’re doing
Weep openly
Tear it apart
Correct it
Re-board it
Rebuild it
Screen it again
Repeat as necessary
from The Alchemy of Animation
In this section we’ll look at a number of techniques and practices employed by WDI, and how these
techniques (and the principles that underlie them) can be applied to instructional design.
Plussing
Forced
“Read”-ability Kinetics
Perspective
Pre-Shows and
Weenies Transitions Storyboards
Post-Shows
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.
Instructional design
Objective: developing an effective learning experience
Creative Intent: the specific educational goal of a course
(functional knowledge, technical knowledge, etc.)
"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
• Good Show vs. Bad Show
Designers are the guardians and arbiters of the creative intent of the environment.
Example - Bibbidi Bobbidi Boutique:
• An environment that men find uncomfortable
• Young girls should think that Cinderella might show up at any moment
Instructional Design
Keeping the focus on the goal of developing an effective learning experience:
• 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
Instructional Design
Identifying the primary subject around which the training is
to be designed
Knowing the purpose of the training you’re designing
Knowing what does and does NOT fit
“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
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 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.
Instructional Design
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
"The minute details that produce the visual experience are really
the true art of the Disney themed show, its greatest source of
strength.” -John Hench
Instructional Design
Accurate and appropriate details support the learning experience
Incorrect or inconsistent details interfere with the learning
experience
There is a balance between not enough and too much detail
"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
Instructional Design
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.
Instructional Design
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
Inconsistent theming can distract and confuse your audience
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)
Instructional Design
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.
Instructional Design
Moving from the General to
the Specific when presenting
information
Instructional Design
Using differing levels of detail, moving from the
General to the Specific
Instructional Design
Highlighting specific objectives /
exercises in a course
Outlining the overall learning
objective of the course
“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.
Instructional Design
Explaining the promise of the training to the audience
• What they will learn
• What sorts of examples the course will include
Instructional Design
Determining the “best” order and sequence in which topics
should be addressed in the training
Storyboarding can help with this
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
Instructional Design
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.
Instructional Design
Using storyboards to outline the entire classroom experience
(lecture, quizzes, exercises, etc.) provides a visual tool to
allow designers to “see” the entire course
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
Instructional Design
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
Instructional Design
Pre-Shows: Identifying objectives and goals, introducing
topics
Post-Shows: Summarizing key points, soliciting questions
Instructional Design
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.
Instructional Design
Adjusting (or forcing, as the name
implies) the perspective of your
audience to help them understand
something
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.
Instructional Design
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.
Instructional Design
Using various devices to convey complex ideas
Graphics/Illustrations
Examples
Metaphors
“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
Instructional Design
While not (usually) constrained by time, we still need to make sure the audience can quickly (and
easily) understand the subject matter
Instructional Design
Keeping the training “moving” by combining different types
of content
There are very few “still” places in Disney Theme Parks. Imagineers use kinetics to keep the
atmosphere “alive” and vibrant.
WDI often designs areas where multiple types of motion “overlap”, such as movement in both
foreground and background.
Instructional Design
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.)
Instructional Design
Employing repetition and reinforcement in the training
“Repetition is the mother of skill.”
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.
Instructional Design
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)
Instructional Design
Providing ways for students to
come to learning on their own
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.
Instructional Design
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
Instructional Design
Constant evaluation and revision based on feedback
Continually ask “How can we make this better?”
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.
Instructional Design
Remember: small changes can make a BIG difference
Techniques and the Imagineering Process - Which techniques/practices apply to which stage in the
Imagineering process?
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.
Forced Perspective ♦ ♦ ♦
"Read"-ability ♦ ♦ ♦ ♦
Kinetics ♦ ♦ ♦ ♦
The “It’s a Small World” Effect ♦ ♦ ♦ ♦
Hidden Mickeys ♦ ♦ ♦ ♦
Plussing ♦ ♦ ♦ ♦ ♦
• 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.
• 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)
Photo Credits
• “Long, Medium, and Close Shots” photos on page 22, “Weenies” photo on page 23, and
“Forced Perspective” photo on page 27 are Copyright ©Jack Spence. Used with permission.
• “Hidden Mickeys” photos on page 31 are Copyright ©Steven M. Barrett. Used with 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.