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UX & Visual Design · Internship · Volvo Group

Volvo Group Visual System

Building a visual identity for Volvo Group's Digital Experience Design chapter

Role
UX & Visual Design Intern
Company
Volvo Group, Digital Experience Design chapter
Team
Solo, with mentor feedback
Tools
Figma, Adobe Firefly, Volvo GPT, Copilot, Claude

Note: some images below have been recreated with generic content or blurred, in line with confidentiality guidance from the team.

As part of an exploratory initiative within Volvo Group's Digital Experience Design (DxD) chapter, I worked on developing concepts for a more consistent and recognizable visual expression beyond the standard Volvo template.

The work was not driven by a formal brief or identified gap, but rather aimed to inspire discussion within the design team around how DxD communication could feel more cohesive and engaging.

I explored a visual system including color, typography, imagery, icons, illustrations, and layout principles, and prototyped how this could be applied in presentation materials. I also tested how AI tools could support generating branded content based on these principles.

The outcome served as inspiration and input to the team's ongoing thinking around design consistency and tooling.

DXD visual system, two-page reference guide
The finished system, distilled into two pages — everything a designer in the chapter needs to start a presentation without guessing.

A growing informal interest, with no formal brief or agreed direction.

Within the Digital Experience Design (DxD) chapter, most presentation material followed the standard Volvo template. While functional, this meant that communication across the chapter varied and lacked a more cohesive visual expression.

There was a growing informal interest within the team to explore how presentation material and communication could feel more consistent and engaging, but no formal brief, defined objective, or agreed direction had been established. Several presentations existed across the chapter, showing different approaches, but none had been consolidated into a shared visual direction.

As part of an exploratory initiative, I took this as an opportunity to investigate how a more consistent visual expression could look and work in practice, using it as a way to inspire discussion and reflection within the design team.

Research, benchmarking, and six directions before finding the right one.

I began the way most design work starts: research. I benchmarked existing Volvo templates and explored visual directions more broadly, then moved into direction exploration, six directions, starting bold and experimental.

Research, benchmarking, and exploration board
The messy middle — benchmarking existing templates and exploring color, layout, and tone before committing to a direction.
Six visual directions explored
Six directions explored, starting bold and experimental, before feedback shaped where they landed.

Each direction was tested against Volvo's brand principles and presented for feedback to my mentor and the chapter's visual decision-maker. This wasn't a single round. It took several rounds of presenting, getting pushed back on, adjusting, and presenting again.

Four pieces of feedback shaped where the system landed.

Softer colors
Early directions were too saturated. We pulled everything back toward a muted, Scandinavian palette.
Color evolution from early directions to final palette
Early colors tested too saturated and warm. Feedback pushed toward a softer, more muted palette.
Less framing
Heavy borders were boxing content in. White space does the work instead.
Framing evolution from boxed image to full bleed
Less framing, moving from an image boxed inside a colored background to a full bleed photograph the text sits directly on top of.
People in imagery
Early directions leaned too heavily on landscapes and abstraction. Volvo is a people centric brand, so we shifted toward photography with people in it, placed next to text rather than behind it.
Imagery evolution from landscapes to people-centered photography
People in imagery, moving from empty, distant landscapes to photography that puts people and emotion at the center of the frame.
Closer to Volvo, with room of our own
Feedback consistently pulled the bold, experimental early directions back toward Volvo's existing visual language, but not all the way. The result is a system that feels recognizably Volvo while still having its own identity within it.

One system, six building blocks.

Colors. Volvo's existing color system stayed the foundation. On top of it, I added two color scales specific to the chapter, giving DXD presentations a recognizable identity without breaking from Volvo's brand. Rule: one accent color per section, never mixed mid section.

Typography. I explored using different typefaces during the early direction work, but feedback consistently pointed back toward staying close to Volvo's existing style rather than introducing something new. So the final decision was to keep Volvo's existing typefaces and focus the work on writing clear usage rules: one typeface for titles only, the other for everything else, maximum two weights per slide.

Imagery. Two image types: nature for calm backgrounds, people for brand warmth. The connecting rule: the image chosen for a section divider sets the color mood for everything that follows in that section. I built a master prompt for Adobe Firefly so the chapter could generate new images consistent with this style.

Icons. Volvo's library first, custom rounded outline icons generated in Firefly to fill gaps.

Illustrations. A set of hand drawn style illustrations already used by the team, which I worked to extend with AI generated additions that matched the existing visual language.

Layout. A defined set of slide types so designers choose from a known set rather than starting from a blank canvas each time.

Everything a DXD designer needs, in two pages.

Everything above was distilled into a two-page reference guide. I built it because a new designer joining the chapter needed one place to find every rule, without digging through multiple files or asking around. Alongside it, I also wrote a markdown version of the same brand guide, structured specifically so AI tools could read and apply the rules directly.

The two-page reference guide, full size
Volvo Foundation and DXD Additions, side by side.

Could AI generate a branded presentation automatically, if it had the right rules?

I scoped the concept, inspired by a structure my chapter's internal AI expert had used elsewhere: a brand guide, a layout template, and a content plan. I then defined the actual rules myself, writing the brand guide content and providing the Volvo template to build from. I worked with an AI assistant to draft the supporting structure, a layout schema and generation script, based on those rules.

My chapter's internal AI expert tried the system and confirmed the approach worked. It's a foundation ready to build on, not yet a finished tool the whole chapter can use.

AI was new territory, and the ethics around it are still unsettled.

AI was still new territory for this kind of work, so a lot of this project was exploratory. I tried multiple AI tools before landing on an approach that actually worked, there wasn't a clear playbook to follow yet.

That exploration also surfaced something I hadn't thought about as much before: the ethics around AI-generated and AI-referenced creative work are still genuinely unsettled. Questions like attribution, ownership, and what's fair to reference when prompting a model don't have clean answers yet, even internally. It's something I now think about more deliberately before using AI in a workflow, rather than assuming it's a solved problem.

+46 (0) 737 528 390 farnooshdahesh@gmail.com LinkedIn