The Imagineering Model: What Disney Theme Parks Can Teach Us About Instructional Design

The Imagineering Model

What Disney Theme Parks Can Teach Us
About Instructional Design

Lou Prosperi
Oracle

Copyright © 2011 Louis J. Prosperi 1

Abstract

This presentation examines several principles,
practices, and techniques employed by Walt Disney
Imagineering in the design and construction of
Disney Theme parks, and explores how those same
principles, practices, and techniques can be applied
to the instructional design process. The presentation
also includes a high-level overview of the
Imagineering process and the parallels between that
process and the traditional ADDIE model.

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.


Overview

Introduction: What is Imagineering?
The Imagineering Process
The Imagineering Pyramid: Techniques and Practices
The Imagineering Model Checklist
Closing Comments


Introduction

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.


What is Imagineering?

Imagineering = Imagination + Engineering

“We call it Imagineering – the blending of creative
imagination and technical know-how.”
-Walt Disney

Just as the first Imagineers adopted techniques and
principles from film-making when they developed the
craft of Imagineering designing Disneyland, we can
adopt the techniques and principles of Imagineering
in instructional design.

“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



How Did They Make That?

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


Overview

Blue Sky
Concept Development
Architecture
Models
Construction

Blue Sky Concept Architecture Models Construction

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

For example, the “Architecture” 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.


Before The Process Begins

The process begins when WDI is presented (or
confronted) with a Need of some sort.
Every Need also has corresponding
Requirements (theme, etc.)
Constraints (time, budget, etc.)

In instructional design, we often start with a Needs
Analysis. (ADDIE: Analysis)
Objectives, Audience, etc.

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?



Blue Sky Brainstorming + Concept Design:
(The Sky’s the Limit) Where ideas are born
Concept Development Where ideas are fleshed out and further
developed
Architecture Where ideas begin to move from concept
to reality

Models Development of scale models of various
scales and sizes

Construction Physical construction and fabrication
(includes Test and Adjust)

Blue Sky - Objective: Determine what it is that will be built/developed.
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 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

Models - help to identify potential design challenges
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.



Blue Sky Where we start when a need is identified
(“We need Implementer training for
Product XYZ”) (ADDIE: Analysis)
Concept Development Where we define the “Big Picture” of the
course (or courses). (ADDIE: Analysis)
Architecture Where the bulk of the course design takes
place. (ADDIE: Design)

Models Where the actual design and development
work begins. (ADDIE: Development)

Construction Where we put all the pieces together, and
where the bulk of the course development
work takes place. (ADDIE: Development)

Blue Sky - how do we address the needs identified during Needs Analysis.

Concept Development - at this stage, we:
• Identify the number of courses we need to develop
• Create high-level outlines and descriptions of the courses

Architecture - at this stage, we create:
• Design Documents
• Detailed Outlines
• Test Plans
At this stage, we define:
• Exercises we plan to include
• Sample data we need to develop

Models - at this stage, we create:
• Initial drafts
• Exercises/Labs
• Prototypes and/or demonstrations
• Test/Training Data

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 also encompasses the review and revision process

This stage often takes place in parallel with the Model stage.


Beyond Construction
Openings and Evaluations

After Construction is complete:
The ride or attraction is opened to the public
The training must be delivered to audiences
(ADDIE: Implementation)

Once an attraction has been open a while, customer
surveys are used to solicit feedback

Once the training has been delivered, we need to
solicit feedback from students (ADDIE: Evaluation)

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



At first glance, the process seems straight forward
enough…


…but the process also is flexible and iterative.


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.


Macro and Micro

Another strength of this process is that it works at
both the macro level (the overall project), as well as
the micro level (each small piece of the project)



Concept Blue Sky Concept Architecture Models Construction


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.


Putting It Together, Take It Apart
Don Hahn on the Creative Process

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


The Imagineering Pyramid:
Techniques and Practices

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.


The Imagineering Pyramid
Techniques and Practices

Plussing

The “It’s a Small Hidden
World” Effect Mickeys

Forced
“Read”-ability Kinetics
Perspective

Pre-Shows and
Weenies Transitions Storyboards
Post-Shows

The Art of Long, Medium, Attention to It’s All About
Theming
the Show and Close Shots Detail the Story

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.


The Art of the Show
Staying Focused on Your Objective

"Designing the guest's experience is what Walt's
Imagineers came to call "the art of the show…“
-John Hench
Objective: to put on a “show” for the Guests
Creative Intent: what the designers want to accomplish

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

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


It’s All About The Story
Knowing and Using Your Subject Matter

“Story is the essential organizing principle behind the
design of the Disney theme parks.…” -John Hench

Every detail of a park attraction is informed by its story (or
theme).

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

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 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.


Attention to Detail
Paying Attention to Every Detail

"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

"A detail should only be used if it is essential to the story in
some way.” -John Hench

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

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.


Theming
Using Details to Strengthen Your Story

“It’s All About The Story” + “Attention To Detail”
Selecting the right details to support the story or theme
Ensuring that everything in an attraction fits its
“story” or theme

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

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.


Theming
Using Details to Strengthen Your Story

• Theming means making sure everything in an
attraction fits its “story” or theme
• Theme is the fundamental nature of a story in terms
of what it means to Disney Imaginers
• Props, sets, costumes, and other decorative elements
are all part of the “look and feel” of an attraction
• Levels of Theming:
• Land-level (Fantasyland vs. Adventureland)
• Attraction-level (Maharajah Jungle Trek vs. Expedition
Everest)

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.


Long, Medium, and Close Shots
Moving from General to Specific

“Long views establish an idea,
medium views continue to support
the idea, and close-ups provide
elements that reinforce the story”
-John Hench
How details are organized and
arranged

Moving from the General to
the Specific when presenting
information

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


Weenies
Leading and Guiding Your Audience

Walt Disney’s term for a visual
element used to draw people into
and around a space
Weenies should be:
Big enough to be seen from a
distance
Interesting enough to encourage a
closer look

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.

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


Transitions
Making Change as Seamless as Possible

Allowing the audience to travel from scene to scene,
attraction to attraction, or “land” to “land” while
avoiding drastic, abrupt change

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

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.


Storyboards
Seeing the Big Picture

“Storyboards enable us to design sequences of
experiences that take guests to peak moments.”
-John Hench
Allow designers to see the entire sequence of events in a
story or ride, and re-arrange as needed during development

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

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.


Pre-Shows and Post-Shows
Introducing and Reinforcing

Leading the audience into and out of attractions
Pre-Shows prepare the audience for what they are about to
experience
Post-Shows reinforce key ideas and themes

Pre-Shows: Identifying objectives and goals, introducing
topics
Post-Shows: Summarizing key points, soliciting questions

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.


Forced Perspective
Using the Illusion of Size

A theatrical technique where the
designer plays with scale in order to
affect the perception of the audience.
Structures or objects appear larger or
smaller than they really are

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.

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.


“Read”-ability
Simplifying Complex Subjects

In ride systems (particularly “dark rides”), guests pass through
scenes quickly, and there is only a short time to convey a
message
The audience must be able to immediately understand each scene
WDI solves this by creating images or scenes that can be “read”
quickly by audiences

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

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.


Kinetics
Keeping Things Moving

Movement and motion in a scene that give it life and
energy
Can come from moving vehicles, active signage, changes in
the lighting, special effects, or even hanging banners or
flags that move around as the wind blows

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.

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.)


The “It’s a Small World” Effect
Using Repetition and Reinforcement

Disney theme parks and attractions are designed to
be memorable
One visit to “It’s a Small World” is often all it takes to have
the song stuck in your head for days.

Employing repetition and reinforcement in the training
“Repetition is the mother of skill.”

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)


Hidden Mickeys
Engaging Your Audience

Hidden impressions (partial or
complete) of Mickey Mouse in
the designs of attractions, hotels,
restaurants, and other areas
Once you spot a Hidden Mickey,
you never look at it the same
way again

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.

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


Plussing
Consistently Asking “How Do I Make This Better?”

“Plussing” is a term coined by Walt Disney that
simply means to make something better.
Improvement through iteration
A continual focus on making things better

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.

Remember: small changes can make a BIG difference


The Imagineering Model Checklist

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


Techniques and the Imagineering Process
Stages of the Imagineering Process
Technique/Practice Blue Sky Concept Design Models Construct
(Architecture)

The Art of the Show ♦ ♦ ♦ ♦ ♦
It’s All About the Story ♦ ♦ ♦ ♦ ♦
Attention to Detail ♦ ♦ ♦ ♦ ♦
Theming ♦ ♦ ♦
Long, Medium, and Close Shots ♦ ♦ ♦
Weenies ♦ ♦ ♦ ♦
Transitions ♦ ♦ ♦ ♦
Storyboards ♦ ♦ ♦ ♦
Pre-Shows and Post-Shows ♦ ♦ ♦ ♦

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.


Techniques and the Imagineering Process
Stages of the Imagineering Process
Technique/Practice Blue Sky Concept Design Models Construct
(Architecture)

Forced Perspective ♦ ♦ ♦
"Read"-ability ♦ ♦ ♦ ♦
Kinetics ♦ ♦ ♦ ♦
The “It’s a Small World” Effect ♦ ♦ ♦ ♦
Hidden Mickeys ♦ ♦ ♦ ♦
Plussing ♦ ♦ ♦ ♦ ♦


Imagineering Checklist Questions
Technique/Practice Questions
The Art of the Show Are you focusing on your target audience?
Do you evaluate how each element of the training
contributes to the overall goals of the course?
It’s All About the Story Do you keep the “Big Picture” in mind when
developing content for your training?
Have you excluded “tangential” topics where
appropriate and/or necessary?
Attention to Detail Have you verified the details in your training
materials?
Are you including too much detail? Too little?
Theming Are you being consistent in your use of language
and terminology?
Are you being consistent in your use of templates
and styles? Fonts? Colors? Etc.


Long, Medium, and Close Shots Have you identified your establishing (long) and
close shots?
Are you presenting information in a way that
moves from the general to the specific?
Are you using different levels of detail to help
guide your audience through the material in your
training?
Weenies Do you provide compelling reasons for students to
participate in your training?
Have you explained what skills your audience can
expect to learn from your training?
Transitions Are you guiding your audience from subject to
subject in a manner that helps them learn?
Have you identified areas where you need to
differ from “real world practice” in order to clearly
communicate to your audience?


Storyboards Have you outlined the entire classroom
experience?
Have you stepped back to “see” the entire course?
Have you considered different ways to arrange
the “events” of the course?
Pre-Shows and Post-Shows Do you outline the learning objectives of the
training?
Do you introduce your topics and how they relate
to the “big picture” and to other topics?
Forced Perspective Are you trying to adjust your audience’s
perspective to help them learn?
Are you simplifying large or complex subjects?
"Read"-ability Do you use examples, illustrations, or metaphors
to help explain complex subjects?


Kinetics Is your training “active”?
Does your training include hands-on exercises?
Have you developed demonstrations that illustrate
the concepts addressed in your training?
Does your training include quizzes and/or polling
questions, or other interactive activities?
The “It’s a Small World” Effect Are you reinforcing key ideas and concepts?
Are you using repetition to help reinforce ideas?
Hidden Mickeys Are you providing ways for students to figure
some things out on their own?
Do you ask questions that force students to think
“outside” your training?
Plussing How can you make your training better?
What little things can you add or change in your
training that might improve the learning
experience for your audience?


Closing Comments


Closing Comments

Instructional Design *is* a creative process.

Useful ideas and insights can come from unlikely
sources.

A visit to the Disney Theme Parks can be fun, *and*
research!


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.


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)

• 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 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.


About the Author

Name: Louis J. Prosperi
Title: Documentation and Curriculum Manager
Organization: Tax and Utilities Global Business Unit, Oracle
Business Phone: 781-993-7545
Business Email Address: lou.prosperi@oracle.com

Primary Responsibilities / Background:
Lou Prosperi is the Documentation and Curriculum Manager for Oracle's Tax and 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 12 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:
Facebook: http://www.facebook.com/lou.prosperi
Twitter: www.twitter.com/louprosperi


Thank You!


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