Professional Documents
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Prosperi 1
Copyright © 2019 Louis J. Prosperi 2
Copyright © 2019 Louis J. Prosperi 3
Copyright © 2019 Louis J. Prosperi 4
Copyright © Disney, All Rights Reserved.
Over the course of a weekend, Walt worked with artist (and Imagineer) Herb Ryman on the first
real map of Disneyland.
The ABC network provided funding for Disneyland in exchange for the Disneyland TV show.
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 presentation we’ll look at a number of the principles in the Imagineering Pyramid, in terms of
both how the principle is used in the Disney park as well as how it can be applied to information
development and technical communication.
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.”
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
In technical communication and information development, our mission is to communicate with our
audience.
As we think about ways to use the Imagineering Pyramid principles in our work, we need to make
sure that we’re contributing to our mission.
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.
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.
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
Other techniques/practices directly related to Attention to Detail include Theming and Long,
Medium, and Close Shots.
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)
“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
Wienies are important when laying out a sequence of story points in an organized fashion.
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
Sometimes technical content 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.
Post-Shows summarize and reinforce the material covered in each section of your content.
Forced perspective is also used in most Wienies, 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.
Some of the best known uses of this technique in Pirates of the Caribbean include:
• Pirate Chess
• Dunking the Mayor
• The Wench Auction (replaced)
• The Jail Scene
WDI often designs areas where multiple types of motion “overlap”, such as movement in both
foreground and background.
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.
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.
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 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.”
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.
For example, the “Design” stage above comprises several related stages, including:
• Facility Design
• Ride Design
• Show Design
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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Rolly Crump worked at the Disney Studios and was brought to Imagineering by Walt Disney. He
worked on a number of well-known attractions, including the Haunted Mansion, it’s a small world,
and Walt Disney’s Enchanted Tiki Room. He also worked on the attractions the Disney company
developed for 1964-65 New York World’s Fair.
The process Rolly describes in this story parallels the Imagineering Process that’s still in use today.
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.”)
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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
Concept Development is where those designs are fleshed out and developed enough so that real
design work can begin.
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.
Feasibility: Before a project is greenlit for Design (Schematic), the project’s feasibility is evaluated.
Imagineering Disciplines:
Sound Design
Lighting Design
Interior / Exterior Design
Graphic Design
Ride Control Design
Show Control Design
Product Design
Includes:
• Physical construction of the facility
• Fabrication of ride vehicles, ride systems, sets, props, and show element
• Show Installation
• Test and Adjust
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.
Rockwork: Models are scanned, and surface areas are broken up into 6’ x 6’ chips (made from rebar
and wire mesh), which are laid on top of structural steel
Pre-visualization – virtual reality “models” of lands and attractions that allow Imagineers to
experience them virtually before construction begins
Evaluations:
Feedback on attractions can lead to:
• Refurbishments
• Redesigns
• Closings (!)
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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Copyright © 2019 Louis J. Prosperi 55
Prologue:
In technical communication and information development, Needs Analysis asks questions such as:
• What objectives/goals should the content address?
• Who is the target audience?
• What are the topics I need to address?
Embrace Constraints
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In this section, I share some closing thoughts and provide an overview of the Imagineering Toolbox
workshop.
• 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.
• 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.
• Prosperi, Louis, J. 2016. The Imagineering Pyramid: Using Disney Theme Park Design Principles
to Develop and Promote Your Creative Ideas. Winter Garden. Theme Park Press.
• Surrell, Jason. 2007. The Disney Mountains: Imagineering at Its Peak. New York, New York.
Disney Editions, Inc.
• Surrell, Jason. 2003. The Haunted Mansion: From the Magic Kingdom to the Movies. New York,
New York. Disney Editions, Inc.
• Surrell, 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)
• 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.
Photo Credits
• “Long, Medium, and Close Shots” photos on page 19, “Wienies” photo on page 20, and “Forced
Perspective” photo on page 26 are Copyright ©Jack Spence. Used with permission.
• “Read-Ability” photo on page 27 is Copyright ©Disney Enterprises, Inc. Used without
permission.
• Magic Kingdom photo on pages 3, 22, and 28 is Copyright ©Disney Enterprises, Inc. Used
without 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.