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Discussion Starter · #1 ·
So wich one is better as a halftone option on film output for screenprint when doing simulated process separations or even one or two color prints? (I already got the 'ellipse dot' part).
22º angle dot or 25º angle dot
 

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i spit out all my halftones at 22.5 degrees. For everything. 4/c process or simulated.. works great and i never get moire patterns
 

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I was using 22.5 as well, but have recently switched to 56 for underbases, and 26 for all top colors and have gotten great results.
 

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The reason is that I've been using Quikseps to do my simulated process separations and that is what they recommend. I have frequently seen 22.5 as well as 25, and believe they both work fine....however, the last few things I've done with 26 happened to look REALLY good, and I haven't had problems with moire (I have with 22.5 if I'm not mistaken.)

Wish I knew the logic behind it all. :confused:
 

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Discussion Starter · #8 ·
Seriously locklear? And you don't get moiré on any of them? I mean, if the film has halftones and it works on a 256 mesh it would have moiré on, say, a 196 mesh, wouldn't it?
 

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Discussion Starter · #9 ·
Thanks IMAGEIT. Now, let me ask you what I've asked LOCKLEAR: What mesh counts would you use? I know that an white underlay for darks will be a lower mesh count -like a 156-, but at the time of chosing the screens for the rest of colors, what will keep me away from moiré on both 22 or 25?
 

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I have not had moire problems so far. I DID however have trouble when using traditional CMYK angles:

C- 15 degrees
M - 75
Y - 0
K - 45

...since I've change everything has looked good. Not saying my way is better. Just what I'm currently using.
 

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Discussion Starter · #11 ·
Ok, thanks LOCKLEAR. It does sound kind of 'unconventional' to me, but hey, nobody even agrees on what that means. I'll try it.
 
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