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VERIZON YELLOW PAGES · SHAR-PEI CAMPAIGN

A familiar face.
An idea unleashed.

The Shar-Pei / Yellow Pages campaign, followed by other Verizon work and the creative operations behind it.

Bob’s role
Creative leadership and marketing communications · 1995–2007 · 12-person organization · 29 markets.

Pantry thirty-second television storyboard for Verizon Yellow Pages
Pantry · :30 television concept and storyboard.
01 · THE CHALLENGE

Keep a large organization’s work coherent.

Across Verizon, Idearc Media, Bell Atlantic and NYNEX, Bob’s 1995–2007 creative leadership and marketing communications work combined campaigns with the systems needed to produce them. His leadership scope included a 12-person cross-disciplinary organization and creative operations across 29 markets.

The work spanned digital, print, broadcast, out-of-home and promotional channels, while supporting major brand transitions. The challenge was to keep the message recognizable as both the medium and the local market changed.

02 · THE SHAR-PEI IDEA

One character. A campaign with legs.

The creative rationale began with people’s connection to animals. The Shar-Pei was chosen to give the Yellow Pages an approachable personality and a distinctive memory hook: a familiar face customers could associate with the company.

The intent was to carry that warmth and recognition from one encounter to the next. The Pantry and Doorbell television storyboards develop the idea over time; the arrival teaser introduces the character, and Good Boy carries it into outdoor advertising.

The psychology behind the character

Later research into animal mascots supports the broader idea that their portrayal can influence people’s attitudes and their connection to a brand. The effect depends on the animal and how it is presented. This provides context for the creative rationale, rather than a measurement of this campaign’s results.

Animal mascots and consumer connections · Bayes Business School, 2013 ↗

03 · SHAR-PEI CAMPAIGN

The Shar-Pei story, from television to the street.

The television concepts are shown as storyboards, followed by the campaign’s teaser, outdoor and promotional applications.

CORPORATE PRESENTATION

A keepsake with a call to action.

To introduce the campaign, shareholders received a plush Shar-Pei wearing a bone-shaped dog tag. Etched into each tag was a URL leading to the recipient’s private, personalized website.

The keepsake became a portal to a deeper online presentation, with personal profile information and an invitation to give feedback. A warm, memorable character opened the door to a continuing conversation.

ANOTHER TELEVISION CONCEPT

Doorbell · :30

An everyday interruption. An unexpected visitor. The Shar-Pei turns a directory arrival into a small moment of discovery.

TV STORYBOARD ANIMATION · DOORBELL

A man practicing putting in his study
01 / 05 · DOORBELL“Honeeey?”

A man practices his putting in the study. The doorbell rings. He calls into the house.

View the complete storyboardDoorbell thirty-second television storyboard with the original script and six panels
04 · OTHER VERIZON CAMPAIGNS

More from the Verizon archive.

Separate campaign and communication pieces: directory concepts, local-market promotions, transit partnerships and online advertising.

05 · LEADERSHIP & OPERATIONS

Creative direction includes the way work gets made.

Bob’s responsibilities extended beyond individual campaign concepts. His documented leadership record includes redesigning workflows, helping uncover new revenue opportunities and supporting brand transitions across a distributed organization.

The BigYellow.com project provides a concrete example of this systems thinking. A labor-intensive online advertising process led to a creative brief, a programming partnership and a reusable template-and-image system that allowed advertisers to update their own information. That project has its own detailed case study.

Read the BigYellow.com workflow case study →

06 · THE RESULT

Campaign work supported by an operating system.

The portfolio records a body of work across television, outdoor, transit, consumer promotion and directories, supported by creative leadership across 29 markets. The case is about the relationship between the two: ideas need a production structure that lets them remain clear across channels and locations.

The lasting lesson is that creative leadership operates at more than one scale—from the image a customer sees to the workflow that allows a team to produce it.

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