A real vector EPS with the bounding box hugging the artwork — one shape for every scale.
Swap: EPS to SVGAn SVG is a web format. An EPS is what the printing and cutting trades still open without a conversation.
Commercial print is built around placed artwork: the operator drops the file into a page layout, sets an imposition and sends it to the press. An EPS is one of the formats that workflow has accepted for thirty years, so it goes straight in — while an SVG often turns into an email asking what to do with it.
A plotter follows outlines, not pixels. Sign software imports an EPS, reads the paths and scales the job to the width of the roll, so a metre-wide logo and a business-card one are the same file with no loss of edge quality.
Vector stock libraries have asked for EPS uploads since the 1990s and still do, because the format travels well: one file, editable shapes, no dependency on a browser or a font folder. Older Illustrator and CorelDRAW installations, and plenty of print portals that never moved on, handle EPS more reliably than they handle SVG.
The artwork is written out as it was drawn: no page around it, no pixels inside it.
Every shape stays a path with its own fill and stroke. There is no hidden bitmap waiting to go jagged the moment somebody prints the file at poster size, and a zoom to 800% shows the same clean curve as at 100%.
An EPS has no paper size, only a bounding box, and the box here hugs the drawing. Place the file into a layout and it snaps to the artwork edges, with no white margin to trim and nothing to crop — which is what a sticker, a decal or a placed logo actually wants.
Illustrator, CorelDRAW, Affinity Designer and Inkscape all open the file as selectable shapes: recolour one part, delete an element, or hand a single outline to a cutter. What arrives is your own geometry, not a flattened picture of it.
An EPS follows paths, so anything the SVG only described as an effect cannot come along.
A blur, a drop shadow, a glow, a masked group or a blend effect has no outline to write into the file. The converter stops and says so instead of handing you an EPS that looks different from your artwork. Flatten the effect in your editor — expand the appearance, turn the shadow into shapes, simplify the mask — or export a high-resolution picture from SVG to PNG if a raster image is acceptable after all.
Live text is drawn with whatever fonts the converter has, and a display or dingbat typeface is unlikely to be among them: letters come out in a substitute, or not at all. Convert the text to outlines before saving the SVG — Illustrator calls it Create Outlines, Inkscape Object to Path, CorelDRAW and Affinity Convert to Curves — and every letter arrives as an exact shape.
Three steps, no account and nothing to install.
Drop the file onto the box, click it to browse, or paste straight from the clipboard with Ctrl+V (Cmd+V on a Mac). Files up to 25 MB are fine, and a plain uncompressed .svg is what the converter expects.
There is no page size, margin or resolution to choose. The drawing is converted as it stands and the bounding box is cropped to the artwork, so the file that comes out is the size of the design and nothing more.
Save the file, then open it in your editor or place it in the layout your print shop asked for. It is named after the original drawing, so it is still recognisable in a folder full of artwork.
The size and the shape of the result are decided inside the SVG, before the conversion starts.
A drawing 100 px wide arrives 75 pt wide, roughly 26 mm, because points are the unit a placed EPS speaks. A file that carries only a viewBox is read at 300 x 150 px, which is rarely what was meant, so set explicit width and height in your editor first.
Duplicate the document before you create outlines, so the editable text survives for the next edit. Outlining the working copy only means a typo fixed later cannot be fixed in the outline version — you simply convert the live copy again.
If the print shop accepts a PDF, SVG to PDF keeps the same paths and lets you put them on an A4 or US Letter page with a margin. Pick EPS when the artwork is meant to be placed and scaled, PDF when it is meant to be a page.
Yes. There is no account, no payment, no watermark and no limit on how many drawings you convert. A short rate limit is the only restriction, and it keeps the service responsive for everybody else.
Yes — the bounding box is cropped to the artwork, so there is no page around it and no margin to trim. The physical size comes from the width and height written in the SVG, measured in points: 1 px becomes 0.75 pt, so a drawing 100 px wide is 75 pt, about 26 mm. A file that only carries a viewBox is read at 300 x 150 px, so set explicit dimensions if the size matters.
In Illustrator use File → Open, or File → Place to drop the artwork into an existing document and keep its colours. CorelDRAW uses File → Import and offers Import as curves, which is the option that gives you editable paths rather than a placed preview. In Inkscape use File → Import, keep the preview in the dialog switched on to confirm it parsed, then ungroup the result. Affinity Designer opens it with File > Open and lists the shapes as one editable layer.
Uploads are capped at 25 MB per file, which is far beyond any hand-drawn illustration: a 25 MB SVG is almost always a document carrying an embedded bitmap. One file is converted per run. If your file is that large, remove the embedded image in your editor — it cannot become a path anyway — and the drawing will shrink to a few kilobytes.
Files are processed on our server and not stored. The SVG is converted as it arrives and only the resulting EPS is sent back to your browser, so nothing is kept afterwards and no account is tied to the download.
