SVG files in Silhouette Studio: fixing potential problems

One of the great things about using Silhouette machines is the Silhouette Studio software. It is amazing, especially since it’s free and updates are always free. And if you choose to upgrade to a higher level of the software, it’s relatively inexpensive and is a one-time fee. What I love about it is the flexibility of using many different file types, including SVG files.

Note: This post contains affiliate links. That means if you click the link and purchase something, I may receive a small commission. You pay the same price. This helps me to be able to keep my business going and provide more tutorials.

It does, however, bring up certain issues, as most SVG files are not made for the specific purpose of cutting on a Silhouette machine. You can open and use any SVG file with Designer Edition and above. But because of the previous statement, they may not be ready to cut right out of the gate. In this post, I’m going to cover the issues that crop up with these and how to fix them.

There’s a good deal of technical information here, so treat this like an encyclopedia you’ll refer back to rather than a novel you’ll read and remember the storyline from.

What are SVGs?

SVG stands for Scalable Vector Graphic. Vector images are made up of “invisible” points connected by straight and curved line segments. (For a more complete understanding of these points and line segments, see my point editing series beginning here). By invisible I mean that they don’t have any visual properties. You only see them on your computer screen when the software you are using shows you their locations, dimensions and curve amounts. You usually see points as little squares and the line segments are very thin or faint.

Scalable means you can make vector images any size you like and they look the same. There’s no distortion or fuzziness. Vector images are created in programs like Adobe Illustrator, Corel Draw, Inkscape. And, yes, Silhouette Studio.

How Silhouette Studio uses vectors

Text you type in regular fonts or shapes you create in the software are vector images, as are designs you purchase from the Silhouette Design Store (other than printable patterns). They aren’t SVG files, but a vector file type (.studio3) that is proprietary to Silhouette America. That’s why you can only use them in the Silhouette Studio program. The software interprets the points and lines of vector images as cut information — “Start here and cut a straight line to this point. Turn in a new direction and cut a curved line segment of such and such depth to this point, etc.”

You may have noticed that if you simply type words or create shapes in Silhouette Studio and then try to print them, nothing prints out. That’s because the vector images are only boundary lines and have no visual component, as explained above. The red cut line you see is just showing you where they are so that you can work with them. They don’t have anything to print unless you do one of 2 things — add a fill or make the line thicker. Print and cut designs have both raster (the fills and thick lines) and vector (the cut lines) components.

Rasters — the other type of graphic

The other most common type of graphics is raster (bitmap) images, such as JPGs and PNGs. They are made up of many tiny squares, called pixels, that are filled with a variety of colors and set in rows and columns. Think back to the old Paint programs (if you are as old as I am). You could make pictures by filling each square individually with color. Because the squares are so tiny, you don’t realize that they are actually squares unless you zoom in really, REALLY far or make the image very large.

The more pixels there are in a raster image, the smaller proportion each is in the whole picture, so the clearer the images. Photos are JPGs with lots of pixels. You are probably already aware that you can get a better resolution on a photo by having more pixels. But on any raster image you enlarge, at some point you begin to see the corners of the squares and so the image begins to look fuzzy. That’s called pixelation.

Why are SVGs often better?

Unlike raster images, SVGs don’t lose resolution (they don’t get fuzzy) when you make them larger (scale them). It just stretches out the distance between the points and adjusts the fills. That’s why they are the “go to” file type for many graphics designers today. Instead of just filling a bunch of squares with different colors, they folks can draw line segments and closed shapes and then change the thickness of the lines or fill the shapes with colors and patterns. That adds the visual component. The vectors are still “invisible,” but they define the boundaries and shape of the fills.

The root of the problems

Now, what’s the issue when using SVG files in Silhouette Studio that are from sources other than the Silhouette Design Store? Here it is:

Most designers of SVG files are creating them for visual purposes only — for how they look on a website. We need to be aware of how the way they create them can alter how these files…

- look
- fill
- resize
- act with any Modify tool
- can have points edited
- print
- cut
- import

…in Silhouette Studio.

I’ll show you what to watch out for, then tell you the potential pitfalls you could encounter. I’ll save the solutions until the end, because sometimes the solution applies to several of the issues.

SVG Issue #1: Thick line open paths that seem to be closed shapes

This is the biggest issue we have to understand with SVG files. Often, a graphic designer will use a thick line segment — an open ended piece — instead of a closed shape to create the SVG design. Something that looks like a rectangle may actually be a thick line with flat ends. Or what looks like an oval may really be a thick line with rounded ends.

The ones on the left look exactly the same as the ones on the right. But they would act very differently in Silhouette Studio.

Why it matters that you have thick lines instead of closed shapes

The dimensions are confusing

Let’s look back at those “rectangles.” This time I’ve put them on top of one another so you can see they are the “same” width.

Now let’s compare their dimensions.

They have the same width, but the thick line has no height. See how the dimension measurement in right in the middle of it instead of around the outside? That’s a tip-off that it’s a thick line and not a closed shape. When I look at the dimensions in the Quick Access Toolbar, it shows me 0.000 for the height. That’s because lines have a width (thickness) but no height.

I think, “Oh, I just need to change that. I’ll set it at 20.” Nope, no go. It just makes a really large bounding box, but the size of the “design” doesn’t really change. And the bounding box seems to be going right through the “rectangle.”

Now let me blow your mind some more. Right now, my thick line has flat ends. That means the software “ends” the line right at the outer extent of the last point.

But notice I have 2 other choices — to end it with a square or round cap. I’ll choose square. Now let’s check the dimensions.

What???? The line width is the same as it was before, but the “design” actually looks wider! It added a square cap to the end of the line, beyond the outermost points.

Now scroll back up to the purple thick at the beginning of the post. It looks wider than the green one with the flat end, right? I have a round cap set on that. They are actually the same exact width if I look at the dimensions.

Modify options work differently

I’ll give you a crash course in Modify tools farther down, but for now you need to know that any Modify option you perform responds differently to a closed shape than an open one.

Let’s look at our thick, purple line with the rounded ends and the purple-filled oval. I’ve put a circle over them, filled it with a different color, and raised its transparency so you can see the others.

Now I’ll use different Modify actions and show you the difference. We’ll skip Detach Lines, because I’ll explain that in detail later.

Whoa! Lots of difference.

I skipped Subtract and Subtract All because there’s a special Preference setting that gives you some options. You can tell the software in Preferences>Tools>Editing Tools to do one or the other of these (I’m going to do them out of order, because it makes more sense that way)–

1. Convert thick lines to polygons — When you choose this one, the software automatically turns the thick lines into regular shapes when you Subtract or Subtract All. That means you get the same outcome as you would if you just started with a closed shape.
2. Maintain thick lines as lines — Instead of changing the thick line to a closed shape, it stays a thick line. This time, you won’t get what you expect because the end of the line segment will retain its end cap shape. I’m going to show you this with all the types of end caps, so I’ve got 3 thick lines instead of just 1. The circle would be gone after using Subtract, but the lines would look the same.

(By the way — you can do this Preference setting for the knife and eraser, too. But I don’t normally recommend those because there are so many better options).

Selecting shapes is hard

This has been getting better in recent software versions, but in earlier ones it was almost impossible to grab a piece that was an open-ended line instead of a closed shape. You had to touch right on the line, not in the middle of the “shape.” It might appear that the shape had a fill when it really didn’t, because it wasn’t a shape at all. I explained that in-depth in this post.

In some cases it is still difficult to grab a line-masquerading-as-a-shape, but it’s getting better.

The points aren’t where you expect

I touched on this a bit above, but when you have a thick line instead of a closed shape, the points aren’t at the outer edges of the “shape.” Compare this actual shape…

…to this one that’s a thick line with a line pattern.

See how the points are inside the shape rather than along the outside edges? The red dots at the tips are a clue that this is also an open path.

Fills don’t act right

I wrote about this issue in an earlier post, but I’ll mention it again here. Because the open path is a line and not a shape, there is no fill color. What looks like a fill color is actually the line color.

Here’s that flourish again that’s an open path. Notice that according to my Quick Access Toolbar, the fill color is yellow, but it certainly doesn’t LOOK yellow.

The line color IS blue, which is what we’re seeing.

Now look at the apple again. When I try to change the fill color on the stem and shine, it looks really odd.

Because I got the file with those fill colors, it sort of changed them, but not really. Besides red dots, that odd fill look is another tip-off that those are thick lines, not closed shapes.

SVG Issue #2: Thick lines that seem to be separate, closed pieces

This is another really big issue to understand and know how to deal with on SVG files. Sometimes what looks like a separate piece is actually just a thick line (possibly even with a line pattern). Take a look at this tree.

(If you click on the tree, it will take you to the page where you can download it to play with. You’ll want to choose the vector graphic. I’ve done that on as many designs as I can in this lesson).

Why it matters that you have thick lines instead of separate shapes

You can’t just ungroup the pieces

My tree design looks like 4 pieces — light green, dark green, brown and black. But when I try to ungroup the 2 greens, there isn’t an option for that. It’s grayed out, which means I can’t do it. (I’ll show you a trick later).

They aren’t 2 pieces. It’s a single piece filled with light green but with a very thick, dark green line.

The trunk is the same — a brown fill with a thick, black line.

It changes what happens when you resize

I said earlier that when you resize an SVG file, what it does it to shrink or enlarge the distance between the points. However, the thickness of the line remains the same. Therefore, your “pieces” change in proportion to one another.

Let me show you what I mean. Here’s that tree we looked at earlier. Watch what happens when I make it larger (left) or smaller (right).

See how when it’s bigger those “outer pieces” look smaller, but when I make the tree small they look so big? The shapes are changing size, but the lines are the same thickness.

It affects where the cut happens

I’m going to go into this in more detail farther down, but depending on your Preference settings and Cut Style, your cut is likely to happen in the “wrong” place. It’s really cutting in the correct place, but you might not understand why it’s not cutting where you expect.

SVG Issue #3: Thick lines that are clear

A designer will at times use a clear line color on a shape. But just because you don’t see it doesn’t mean it isn’t there. Here’s a bird with clear line colors.

When I change them to black, you can see they are a bit thicker on his body (I’ve put a yellow rectangle with 0.0 default line thickness for reference).

Why it matters that there’s a clear line color

It cuts in the “wrong” place

If the the line thickness is 0 or very small, it’s not usually a problem. But consider what might happen if you have a shape that has a thick line around the outside that you don’t even know is there.

Look at this star. The line color is clear, but the line thickness is 28.

When I go to my Send area and set it on Cut Edge, look where the cut happens.

SVG Issue #4: “Invisible” Outer box

This one is SO tricky! Here’s an SVG apple design.

Although you can’t see it right off the bat, there’s a square around the outer edge. This one happens to have a black fill. But because the transparency is all the way up at 100%, it’s now see-through. Even though I don’t see the box or it’s fill, it’s still there. You can see it if I take the transparency of that square down to 0%.

Why an invisible outer box matters

It affects what cuts

If you have an invisible outer box and your design is set to Cut Edge or AutoWeld, it’s only that square that’s going to cut. None of your actual pieces will, because they are all completely surrounded by that box.

Say you change it to Cut instead. What if the line that’s there, but that you don’t see, cuts? Watch what happens when I put several of these apples side by side and choose Cut on them.

The invisible squares are cutting into the apples.

It could alter a print and cut

Sometimes what looks like a completely white background square actually has a bit of color to it. That color can then obscure another design or mess with your registration marks. Remember — white is not the same as clear.

SVG Issue # 5: Crossed paths

Some graphic designers “draw” in their program as if they were using a paintbrush or pencil. When they do that, they may cross lines over one another. When you’re just going for visual effect, that’s not a problem.

Here’s an example — that swirl design again. Here’s how the design looks in the original program. I created it by drawing a thick line with a line pattern of thick middle and tapering ends. When I did it, I used the drawing tool just like a pencil. The areas at the bottom of each loop are where I crossed.

Why crossed paths matter

It creates holes

If the designer doesn’t save the file in a certain way, those crossed lines become problematic shapes when opened in Silhouette Studio. Here’s how it looks in our program —

See those white areas where the paths cross? In this example, I didn’t save it in a way that would make it a closed shape. That looks fine, but it wouldn’t cut correctly. Instead of a single piece, you’d get cut lines that slice it apart. You’ll often find this with fonts.

SVG Issue #6: Overlapping shapes that seem to be 1 piece

Look at this pumpkin SVG.

It looks like I’ve got a medium orange oval at the front with a darker one right behind it. But look what happens when I ungroup and begin to move the pieces around.

Hiding behind that front oval wasn’t a separate dark oval, but 4 smaller ones. (I’ve added a line color so you can see more easily).

Now let’s continue moving pieces of our pumpkin and see what all we have.

I begin to see more and more pieces I assumed were single pieces that are actually a combination of several pieces overlapping.

Why overlapping shapes matter

They will cut separately

If the shapes are overlapping, they will each cut. So instead of a single piece for the very back of the pumpkin, I’d have 3.

They may not be full pieces

Look those 4 smaller dark orange ovals again. See how there’s a hole in the middle? Even if I combined them into a single piece (I’ll show you that later), I’d still have that hole in the middle. That may not work well for my project or material.

They are obscuring other pieces

Obviously, if you have shapes that are overlapping one there are things you aren’t seeing. Those could make a huge difference.

They may cause ridges

If you’re using a material like vinyl, you don’t want overlapping areas because they create ridges.

The thick lines make it worse

Combine the idea of overlapping shapes with thick lines, and you can see you could easily get in trouble when trying to cut an SVG design.

SVG Issue #7: Location of a thick line

Look at these 2 circles. The orange on each is a thick line.

They look like they have different line thicknesses, but they are the same. Why do they look different? Because of the line position. When you have a thick line, it can be in front of the shape, as on my left circle, or behind it, as on my right circle. If I adjust the transparency of the lines and shapes, you can see it more clearly.

This is always how a thick line is — half of it is inside the shape and the other half is outside of it.

Why the location of the line matters

You don’t know the real size of the parts

This could affect things because you might not even realize how thick your line really is or how large the shape itself is. If the shape is in front, you see how large it is but not how thick the line is. But if the line is in front, you see how thick it is but not how big the shape is.

The implication of that is that if I cut both the orange frame piece and the green circle piece separately (I’ll show you how later), the green piece would not nestle right into the orange piece.

It shows on a print and cut

If you’re doing a Print and Cut project with your SVG, the location of the line definitely changes how your printed piece looks.

SVG Issue #8: Import settings

New to version 4 are options in the Preferences to adjust how SVG files respond when you open them. It’s in the Import tab in the section for SVGs. Here are the options–

Cut lines — You can decide between 4 ways Silhouette Studio treats the lines.
- Cut All is the default. That means everything will be on Cut, regardless of whether you can see the pieces or not.

Why Cut All matters

On those thick lines of the stem and shine of my apple, the line goes right down the middle. And that invisible box cuts as well.

No matter where I moved the pieces, they would still all cut down the center of the line. Notice the stem piece would cut into the apple and vice versa.

- Cut Edge — With any design, if you have Cut Edge selected and pieces overlap, ONLY the outermost piece cuts.

Why Cut Edge matters

If I used Cut Edge it on my apple, the only thing that would cut is that “invisible” square because it’s completely surrounding (totally overlapping) the other parts.

Since your design may not have that outer box, let’s get rid of it. Notice that I left the shine on the apple. Since it’s completely surrounded, it would not cut. Where the stem and the apple overlap, the cut goes around them. In other words, the cut for the stem doesn’t cut into the apple as it would have with Cut. I moved the stem off to the side so you could see that if I don’t have it overlapping another part, it would cut. Just don’t forget about the fact that if you change the size the proportions change.

That does NOT apply to the inner holes of compound paths because those are actually edges. In other words, if the shine were in a compound path with the apple, it would cut a hole there in the apple.

- No Cut — Every piece comes in set to No Cut.

Why No Cut matters

Unless you change it in the Send area, it may appear that the SVG you just paid good money for doesn’t have cut lines. It does — all of them do if they are truly SVG files. You just may have to turn those cut lines on. In earlier versions of the Silhouette Studio software, this is how every SVG opened and many people got confused. That’s why the default is now Cut instead.

- Cut 0.1 lines — If the piece has a thickness of at least 0.1, it will be set to Cut. A 0.0 thickness line would not.

Why Cut 0.1 lines matters

Theoretically, this would be a good thing because it means that some accidental, invisible pieces wouldn’t cut. But since most folks who design SVG files use at least some line thickness, this doesn’t come into play very often. And unless I’m misunderstanding it, it’s actually not working properly at this time. The cut lines all come in set to Cut, even if they have a line thickness under 0.1.

White lines in original — If a designer uses a white line color in the vector-creating program they are using, as the file opens in Silhouette Studio the lines are changed to black.

Why it matters that lines become (or don’t become) black

Again, by design this is a good idea. Those “invisible” pieces are easier to find. HOWEVER — this does not happen if the line thickness is 0.0. So, again, you could have a piece that you can’t even see actually cut.

Joining lines during import — If a designer used open or closed paths that cross over one another or are close to one another but didn’t combine them in a compound path, the software would combine them as it opens the file.

Why it matters if the software joins the lines

This is another one that does not seem to be working correctly at this time as odd things begin to happen — you can’t select the pieces, extra tiny invisible pieces get added, etc. In my opinion, it’s best to keep this off for now.

Solutions for working with SVG files

As long as you aren’t completely sworn off SVG files by this point, there is hope. You can get around pretty much all of this if you understand what the issues are and what to do when to fix them.

Understanding where cuts happen

The presence of thick lines and whether or not they have color greatly affects where the cuts happen. A shape with raised line thickness will respond differently to Cut vs. Cut Edge, and that also depends on if it’s filled or unfilled and if it has a line color.

This cuts right down the middle of the line, no matter how thick it is, but only if the line has a color. If it’s clear, it acts just like a regular shape. In other words, if a thick line doesn’t have a color, the software pretends that line isn’t thick/isn’t even there. Here’s how we can use this–

- If you have a shape that has a thick line and you only want to cut around the shape itself, change the line color to clear or send change its location to Behind the Shape and use Cut. That also enables you to see the actual size of the shape.
- On a Print and Cut, you can use it to create a quick bleed (color that prints outside the cut line in case it’s slightly off).

Cut Edge

This will cut differently on a filled vs. unfilled shape. On filled — it goes on the outer edge only. On unfilled — it goes on both sides. Here’s how we can use this one–

- Change the fill of the shape to clear and you’ll be cutting both pieces. That means your thick line can become a frame that your inner piece can nestle into.
- For an open-ended path that’s a thick line, this cuts around the outside so it makes it like a closed shape while leaving the original file intact.
- For pieces that appear to be a single shape but are really a set of overlapping shapes, Cut Edge makes them cut as one. It’s like welding, but it’s not permanent.
- When doing a Print and Cut, this is what you can use to cut only the outer edge of the 2 pieces.

Sometimes, the line is white but may still be thick. The same holds true on where it cuts. You probably can’t see the line because of the white background in the design area, it still cuts the same way. Talk about head-scratcher! If your cut line seems to go way too far out from your shape, this is the likely cause. Just remember that white is NOT the same as clear.

Always check your cut preview carefully and you’ll save yourself many a headache.

Detach Lines

Much earlier in this whole discussion I told you I would explain the Modify tool called Detach Lines in detail. You had to understand all the issues before this would make any sense at all. For quite a bit of this, you can use this tool.

What Detach Lines does it to pull a thick line off of a shape and turn it into its own shape. That means you can use it to eliminate many of the issues with thick lines such as resizing, dimensions, Modify options, point editing, fills, etc.

Remember the tree shape? I can use Detach Lines to separate the original 2 pieces into the 4 pieces I was expecting.

Once you do this, you can resize your pieces and they will remain in the same proportions with one another.

The tricks of Detach Lines

There are, however, some things you need to understand about using Detach Lines.

The original piece retains its line thickness. What really happened is that Silhouette Studio changed the line color to clear so that it would cut as we anticipated — just around the shape. However, it still acts in all the ways we have described with thick lines. The best bet is to change it right away to a 0.0 line thickness.
You might not want a frame piece like we see for the dark green and black. Since these pieces are now regular shapes, you can release the compound path and delete the inner portion. Then you can stack your original piece on top of the outer frame piece and the latter acts as a background.
Remember that the thick line goes the same amount outside and inside the edge of the original shape. That means your shape would not fit into the frame piece like a puzzle. There would still be an overlap. You can see that when I align the 2 pieces and raise their transparencies. You see the overlap as a darker area.

To create pieces that nestle exactly, make sure the inner piece is at the front of the order and use Subtract All. The inner piece cuts away the part of the outer piece that overlaps.

Detach Lines also works to turn those open path thick lines into pieces. I explained above that Cut Edge can work for that, but this option changes it permanently.

Using the correct cut style and Detach Lines is going to solve 90% of the issues you have with SVG files.

But there are a few other tricks to use as well for the remaining issues.

Offsets

When you have crossed paths, you need to create a whole new shape. You do that by creating a tiny offset. Instead of the lines crossing over one another, you have a solid shape.

If you’ve ever encountered a problematic font with crossed paths that make holes, you may have heard people telling you to weld the text. That doesn’t work. Welding only works with overlapping pieces, not crossed paths. The ONLY thing that works with a crossed path is to make a new piece with the Offset tool.

Raising the transparency

Here’s a good trick to figuring out what you have. Before you do anything, set the line color to something like black that you can easily see and raise the fill transparency of all the pieces. That allows you to see exactly where each piece is, and to see if there are any “invisible” pieces out there.

You might not have noticed initially because the design area has a white background, but there’s a white frame piece around the outside. When I set that line color to black, it was easier to see it.

Keeping a copy

Here’s another trick. Keep a copy of the original on your design area, then start giving each of the pieces a different color. This helps you distinguish the pieces from one another the pieces that are the same color. I’ve begun that process here.

This particular one would be quite a bit of work. If I did decide to do it, I’d use the Layers feature to help me keep track of which piece was which. Here, I put all those ungrouped pieces in their own layer and began naming them.

Modify options

There’s no way I can teach you all about Modify options in 1 post. But I can give you an overview. Here’s a brief definition of what each Modify tool does. In every case, we are working with shapes that overlap one another. Sometimes I’ve pulled them apart so you can see the resulting pieces more clearly.

Weld — Joins the pieces into a single piece, eliminating the cut lines in the overlapping areas.
Subtract — Uses pieces that are higher/in the front of the order to cut away portions of other pieces that are below/behind them. Only the remaining portion of the bottommost piece remains. Here, the blue rectangle cut away the parts of the green rounded rectangle and purple circle that were behind it. Then, the green rectangle also cut away a portion of the purple circle. Only the portion of the circle that you could see when we started remains.
Subtract All — Does the same as Subtract, except that all visible portions of all pieces remain.
Intersect — The only portion that is kept is the area that is shared by all the shapes. If there isn’t any area where they all overlap, you get nothing. There’s only a small area where all 3 of these overlapped.
Crop — The sister of Intersect. This time, the software retains any area that is shared by at least 2 shapes. Notice that it’s a larger area than with Intersect.
Divide — This separates the shapes like a puzzle. It’s like the edges of each shape are a knife that slices through the other shapes.

(In times past, I would direct you to take my Craftsy class on the Modify panel. Since that is no longer available, be on the lookout for a new series coming soon).

A complex example

Let’s revisit the pumpkin.

The pieces are not ideal because we have the overlapping pieces and the multiple pieces that make up what we would expect to be 1 piece. How could we make this more usable?

It would work better if those 3 large darkest pieces were 1, so we could weld or use Cut Edge.
For the 4 smaller darkest pieces, we could Weld again, but we’d have a hole in the middle of them that might not be ideal. After you Weld, release the compound path and remove the middle.
Look at the stem. If I raise the transparency, I can see all the parts, including areas obscured by other shapes. (I made the background piece of the pumpkin body green for now.)

Here I’ve separated the pieces–

I would probably do these steps–
- Use the oval to remove the top part of the “w” with Subtract All. Notice you don’t see the top of the middle of the “w” behind that oval any longer.
- Select the outer frame dark orange piece and the lighter gold and use Subtract All again. That will remove any parts of the gold that are behind the orange.
- Take the pumpkin body and the lighter gold and use Subtract All again to the remove the portions that are behind the body. Parts of the orange frame are still behind the body, but we’ll deal with that in a minute. The gold is now sitting right on top of the body.
- Select the oval and the gold piece, use Divide, and delete the upper portion of the oval. That’s what is behind the frame so we won’t need it.
- Weld the body, “w” and outer frame together to make a single piece. We’d then be able to put the 2 gold stem pieces down first and lay the other piece over it.
  
  The “w” would be laying on top of those gold pieces, but since there aren’t any overlaps it wouldn’t be a problem. If you wanted it all in one level, you could select the “w” and larger gold piece and do Subtract All before you do the welding to the body. That would also allow you to put the gold pieces on after instead of before. As with most things in Silhouette Studio, there are multiple ways to do something.

Is it worth it?

So, is it worth it to use SVG files from other sources? Maybe, maybe not. But at least now you know what the issues are and how to work around them. That way, if you need to use one you can, such as when it’s a logo given to you by a business. And it makes you appreciate the designs in the Silhouette Design Store even more.