The Imagineering Toolbox: Using Disney Theme Park Design Principles to Develop and Enhance Your Technical Communication Projects

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Copyright © Disney, All Rights Reserved.
Copyright © 2019 Louis J. Prosperi

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In this section, we’ll look at what I consider to be a challenge with Technical Communication and a
new source of tools to address that challenge.
We’ll also look at what we mean by “Imagineering” to provide some context for the later sections of
the presentation.

When we consider the name “Technical Communication”
There are two aspects of the “Technical” part of Technical Communication.
1. The technical nature of the subject matter
2. The role of tools and technology.
I believe that one challenge with Technical Communication is that we often tend to focus on the
tools and technology side of things rather than on the communication side.
Where can we look for distinctions, practices, and principles to help us more effectively
communicate with our audiences?

Imagineering is all about communication, and it has a lot to teach us about how we can effectively
communicate with our audiences.

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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

The Imagineering Toolbox includes two main types of tools:
• The Imagineering Pyramid
• The Imagineering Process

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In this section we’ll take a quick look at the Imagineering Pyramid.

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The Imagineering Pyramid comprises 15 principles and practices used by Walt Disney Imagineering
in the design and construction of Disney theme parks, attractions, and other venues.
In this workshop we’ll look at each 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. For now, we’ll start with an overview of the pyramid and
its principles.

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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
Technical Communication and Information Development
What is your “show”? Do you have a metaphor that communicates your mission like “show” does for
WDI?
In technical communication and information development, our mission is to communicate with our
audience.
Keeping the focus on the goal of developing an effective experience.

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The “art of the show” can be thought of as an umbrella encompassing all of the other principles in
the Imagineering Pyramid.
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.

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In this section we’ll take a quick look at the Imagineering Process.

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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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.

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?
What is the real need behind the initial request?
“People don’t want to buy a quarter-inch drill. They want a quarter-inch hole.”
Toyota’s “5 Whys” problem-solving technique.
Why do you need that? Why do you need that?
What are your real Requirements and Constraints?
Beware unquestioned assumptions (and “We’ve always done it that way”)
Embrace Constraints

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Let’s form a handful of small groups of 3-4 people each for this portion of the workshop.
In this section, we’ll go through the stages of the Imagineering Process and the principles of the
Imagineering Pyramid in detail, and spend some time in group discussion about how each can be
applied to our example projects.

Each group should take a few minutes to select a technical communication project to use in the
workshop. As we move through the Process and Pyramid, each group will look at how to apply each
principle to their project.

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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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Prologue: Needs, Requirements, and Constraints
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.”)

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
The Seven Agreements of Brainstorming (from HATCH):
Agreement #1: Start a Fire (Spread the word)
Agreement #2: Think Distinctively (Creative vs. Critical Thinking)
Agreement #3: “Yes, and…” (similar to Osborn’s rule about building upon each other’s ideas)
Agreement #4: No Blocking (similar to WDI’s Rule 3)
Agreement #5: More Ideas (similar to Osborn’s first rule)
Agreement #6: Wild Ideas (similar to Osborn’s rule about wild ideas)
Agreement #7: Critical Thinking (Grab, Group, and Grow)
• Initial filtering based on Requirements and Constraints
• Concept Designs can be expressed as, sketches, paintings, written descriptions, models, verbal
pitches, etc.
• Specific outcomes of the Blue Sky stage include Story (subject matter) and Creative Intent (the
experience you want your audience to have)

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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 content:
• The primary subject around which the content is to be written
• The purpose of the content you’re writing
This includes knowing what does and does NOT fit.
• Eliminate “tangential” topics where possible
• Example: Documentation on applications which leverage multiple technologies (Java, VB, etc.) is
NOT the place to explain and describe 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 objectives:
• Remembering who your target audience is
• Every concept, task, reference, etc. should add something significant to the experience
“How does this (concept, task, reference, etc. ) enhance or support the reader’s
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 content

Concept Development
Blue Sky designs are typically not detailed enough for formal design to begin.
Concept Development is where those designs are fleshed out and developed enough so that real
design work can begin.
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.
Feasibility: Before a project is greenlit for Design (Schematic), the project’s feasibility is evaluated.

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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 your content delivers its message in a clear and consistent manner, one
that supports and (if possible) enhances the audience’s experience
Consistent use of:
• Language and terminology
• Templates and Styles
• Fonts, colors, logos, etc.
The next page is an (extreme) 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)
Technical Communication and Information
Development
Using differing levels of detail, moving from the
General to the Specific

Design
Referred to as “Schematic” by WDI
Macro: Facility Design, Ride Design, Show Design
Imagineering Disciplines:
Sound Design
Lighting Design
Interior / Exterior Design
Graphic Design
Ride Control Design
Show Control Design
Product Design
Development of documents and plans needed to bring the project to life:
• Blueprints
• Elevations
• Specifications
• Plans

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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
Wienies 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)
Conveying the promise of your content to the audience
• What they will learn
• What sorts of topics and subjects your content 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 adding layers of detail
• Discussing general applications of an idea before specific examples
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.

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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 content development:
• Each “event” (task, concept, reference, 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 readers should know (or know how to do) after each section of your
content, 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 content.

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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 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.
In content development, 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
• Grouping and Chunking
• Etc.
Forced Perspective is related to “Read”-ability, our next technique.

Construction
The move from 2D to 3D.
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.

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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 (replaced)
• 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 © 2019 Louis J. Prosperi 55
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:
• Text
• Bulleted lists
• Tables
• Heading Levels
• Video and interactive content

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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 key ideas and concepts
• Using multiple (and different) means to communicate important ideas (i.e. employing "Read"-
ability))
• Performing the same tasks multiple times

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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 content, let your audience figure things out instead of simply telling them.
Concepts, ideas, and distinctions that readers work out on their own are more likely to be retained.
Caveat: This does NOT mean you should leave important information out of your content.

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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.”

Models
Scale models created during each stage of the process
Used in Design and Construction
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
WDI uses computer models (Building Information Models) to
Detect clashes between facility and show designs
Project production schedule (4th dimension)
Project production costs (5th dimension)
Operations and maintenance (6th dimension)
Pre-visualization – virtual reality “models” of lands and attractions that allow Imagineers to
experience them virtually before construction begins
Prototypes and Playtesting
Toy Story Midway Mania
• Ride vehicle started as 2 chairs
• Shooter started out as an empty paper towel roll

Openings:
Attraction openings include previews, “Soft” openings, and Grand Openings.
Evaluations:
Feedback on attractions can lead to:
• Refurbishments
• Redesigns
• Closings (!)

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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 share some recommended reading about Imagineering, and some closing
thoughts.

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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 48 (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.
• 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.

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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 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.

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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: lou.prosperi@oracle.com
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
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Personal Email: ljp1963@aol.com
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The Imagineering Toolbox: Using Disney Theme Park Design Principles to Develop and Enhance Your Technical Communication Projects

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