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Somewhere in every project there is a logo that only exists as a JPG or PNG — pulled from an email signature, an old website header, or a client's only surviving brand file. This page rebuilds those files as true SVG vectors: flat-color marks trace especially well, because hard edges and solid fills are exactly what a tracer wants to see.
The output is layered, one path group per color, so the result is editable in Illustrator, Figma or Inkscape and cuttable on vinyl and laser machines. Your image never leaves your browser — the tracing runs locally on your device — so even confidential brand artwork stays put. Downloads are free, with no signup and no watermark.
A tracer's job is to recover shapes from a grid of pixels: it must group runs of identical color into regions and fit curves around them. Logos make that easy, because they are the one category of raster image that was designed to be flattened — two or three solid fills, hard boundaries, deliberate negative space. Where a photograph dissolves into millions of in-between tones, a logo hands the tracer exactly the signal it needs: long stretches of pure color separated by clean transitions. That is why even a modest 400px JPG of a wordmark can produce a surprisingly crisp SVG. The underlying shapes were always simple; only the container was lossy.
The other advantage is intent. A logo exists to scale — to sit on a business card and on the side of a van, to be cut in vinyl, stitched on fabric, placed on a website header at any width. The raster file you were handed fails at half of those jobs. Tracing restores the geometry the format threw away, and it does so without an upload, without an account, and without a watermark on the result.
Brand artwork lives or dies by exact color values, so the tracing pipeline treats palette recovery as its own stage rather than a side effect. The image is first measured at its working size — up to 1536px on the long side, with larger files downscaled for tracing — and its colors are grouped using a median-cut style quantizer. Median-cut repeatedly splits the most populated color ranges until the whole image is represented by a small set of dominant shades. Because the splits follow actual pixel populations rather than averages, a flat red panel covering half the artwork survives as one exact red instead of being averaged toward neighboring tones.
Then the cleanup runs. Anti-aliasing manufactures halo tones — the gray fringe between navy text and a white field is not navy or white, it is a run of in-between values. Those halo clusters are detected and folded into whichever dominant color they sit against, and dithering or JPEG ringing receive the same treatment. A final mode snap assigns every remaining pixel to its nearest approved shade, so no orphan tone survives as its own layer. When automation still guesses wrong, the controls take over: Merge lets you select leftover shade clusters and fold them into any brand color, including a custom value picked from your brand guide. What reaches the curve stage is a tidy region map in which every region corresponds to a color you actually approved.
A two-tone logo — black symbol, brand-color wordmark — is the fastest case. Auto color detection usually lands on exactly the right palette; the background becomes a layer you can knock out to transparency; and what remains is one path group per ink, ordered largest area first. Download each layer separately and you have the two files a sign maker asks for.
Full-color logos need one more pass of judgment. Layer ordering follows area, so the dominant field sits at the top of the list and fine detail lives in the smaller layers beneath it. The workflow that works: trace once with auto colors, review each layer in the palette panel, merge near-duplicate shades into their brand values, hide any layer you do not want to ship, then download the whole stack plus the individual pieces. The before/after slider and its magnifier (up to 8×) exist for the last step — zoom onto letterform junctions and small counters, because that is where a trace either holds up or does not.
Production machines do not want a logo; they want separations. This is where per-color layer downloads earn their keep, and where two controls matter more than any other. The first is knockout: removing the background — and often a white keyline — to transparency, so the cutter only sees shapes that will actually be weeded and pressed. The second is merge: vinyl and embroidery jobs are quoted by color count, so folding a cluster of near-identical shades into one vinyl or thread color before download can turn a seven-color job into a four-color one.
A few production-specific notes. For vinyl, raise Simplify slightly so the blade follows smooth Bézier curves instead of pixel-faithful micro-detail, and check at high zoom that letter counters — the hole in an e, the loop of a g — remain open. For print, keep the palette low and honest: a spot-color mindset beats a gradient mindset. For embroidery, remember that thread renders thicker than a path stroke, so merging thin outline layers into the shapes they surround usually produces cleaner stitch files than tracing every hairline separately.
Tracing is the right tool when the logo already exists as flat raster artwork and you need it as geometry: a client sent a JPG and the printer wants SVG, a legacy mark must appear on a website at any size, or a two-color badge is destined for a cutter. In those cases a trace saves hours against a manual redraw, and for simple marks the quality difference is small.
Redrawing wins in three situations. First, the logo contains smooth gradients or photographic elements, which arrive posterized because a tracer separates tones into layers. Second, the artwork is small and degraded — a 96px favicon cannot be stretched to a 1536px working size without the trace exposing detail the pixels never contained. Third, the file is the master: brand guidelines, trademark filings, anything reproduced at large scale for years. A designer-built vector has deliberately placed anchor points, optically corrected curves and a managed palette; a trace approximates the pixels it was given. Use the trace to get moving today, and budget the redraw if the mark will outlive the project.
It is a faithful, layered, editable vectorization of the pixels you supplied: true SVG paths grouped by color, downloadable whole or per layer, with no signup, no account and no watermark. It is not an AI redraw, not a reconstruction of the designer's original geometry, and not a promise of exact brand-color fidelity in every edge case — the palette is recovered from the file, and the file is the only evidence. Photographs and gradients become posterized by design. Detail caps at a 1536px working size, so enormous originals are downscaled before tracing. Within those boundaries a traced logo is a dependable working asset: honest about where it came from, and clean enough that most people who receive it will never ask how it was made.
It will be a faithful trace, not an exact reconstruction. The tracer follows every edge of the source pixels, so flat shapes and letterforms come out very close — but it draws curves around pixels, it does not redraw the geometry a designer once drew. For pixel-perfect, brand-critical master artwork, a hand redraw in a vector editor still beats any tracer.
No. Your image never leaves your browser — the tracing runs locally on your device, in JavaScript, and there is no account and no signup. That also means nothing to wait for on a slow connection: the trace starts the moment the file is decoded. Confidential or unreleased brand artwork is as safe here as it is in any local editor.
Both work, in different ways. Multi-color flat logos are the sweet spot: each color becomes its own path layer, ordered largest area first, and you can merge or restyle layers individually. Gradients are different: a tracer separates tones into discrete layers, so a blend arrives posterized or banded by design. Raising the color count smooths the steps but never makes them truly continuous.
For many everyday uses, yes: web graphics, presentations, merch mockups, vinyl decals, laser cutting and embroidery all work well from a clean trace. But if this is the logo that will live in a brand guidelines document and be reproduced everywhere, treat the trace as a working draft and have a designer redraw it properly — a hand-built vector with tuned curves remains the gold standard for master artwork.
Working from other file types? We also handle PNG to SVG, JPG to SVG, WebP to SVG, GIF to SVG, BMP to SVG, AVIF to SVG and the main image to SVG converter, all free, all in-browser. Turning a logo into a vector? There is a dedicated logo to SVG page. Making a cut file for a plotter? The SVG for Cricut page covers the whole workflow. Want the deeper background? The guides hub covers how image tracing works, preparing logos for vinyl cutting and layered SVGs for laser engraving.