Altogether, they eliminate well enough :

• If the choice - "theoretical" - some  fabric  and   especially its   possible   tension   and
  angulation    are   correctly made    according    to    the halftone.
• If the technique of stencilling is appropriate and the inside spaces  between  the  image
  and   the   frame   are    big enough;
• If ink,  squeegee,  flood-bar and the employed substrates are also being well chosen.

Please, always remember yourselves what I say you about choices: all and each are important...

You can, for example, have no moire when stencilling and discover it after printing of some sheets at the second or the third colour printing, either for a bad choice of ink or substrate, or because of a stencilling (direct emulsion or film) insufficiently solid, or because a bad sequence of the printed colours was chosen.

Systems often very well studied for avoiding of the moire, free sometimes, -sometimes so-called "patentees" and paying -exist on the market.

In what concerns me, I have a lot of respect for Joel Garnaud's SerilorLog, and for the electronic techniques of Autotype (DSP Computer Models), two systems of analogical or electronic simulation.

But I prefer my manner to proceed, because quicker and more based on the daily practice of screenprinting -We printed on five lines of machines an average of 95 % of the production in four colours process every day - in halftone ruling from 100 to 300/inch (40-120/ cm).