Silk screen printing has its origins in simple stenciling, most notably of the Japanese form (katazome). The modern silk screen process originated from patents taken out by Samuel Simon in the early 1900s in England. This idea was then adopted in San Francisco, California, by John Pilsworth in 1914 who used a silk screen to form multicolor prints in much the same manner as silk screening is done today.

Silk screening took off during the First World War as an industrial process for printing flags and banners. The use of photographic stencils at this time further increased the processes versatility and encouraged wide-spread use.

A screen is made of a piece of porous, finely woven fabric (originally silk, but typically made of polyester or nylon since the 1940s) stretched over a wood or aluminum frame. Areas of the screen are blocked off with a non-permeable material—a stencil—which is a negative of the image to be printed; that is, the open spaces are where the ink will appear.

The screen is placed on top of a piece of dry paper or fabric. Ink is placed on top of the screen, and a squeegee (rubber blade) is used to spread the ink evenly across the screen. The ink passes through the open spaces in the screen onto the paper or fabric below; then the screen is lifted away. The screen can be re-used after cleaning. If more than one color is being printed on the same surface, the ink is allowed to dry and then the process is repeated with another screen and different color of ink.

A macro photo of a silk screen with a photographically produced stencil. The ink will penetrate where the stencil does not cover the fabric.

There are several ways to create a stencil for screen printing. The simplest is to create it by hand in the desired shape, either by cutting a piece of paper (or plastic film) and attaching it to the screen, or by painting a negative image directly on the screen with a filler material which becomes impermeable when it dries. For a more painterly technique, the artist may choose to paint the image with drawing fluid, wait for the image to dry, and then "scoop coat" the entire screen with screen filler. After the filler has dried, a hose can be used to spray out the screen, and only the areas that were painted by the drawing fluid will wash away, leaving a stencil around it. This process enables the artist to incorporate their hand into the process, to stay true to their drawing.

Photographic screens can reproduce images with a high level of detail, and can be reused for thousands of copies. The ease of producing transparent overlays from any black-and-white image using a photocopier makes this the most convenient method for artists who are not familiar with other printmaking techniques. The low resolution and size limitations of a photocopier make film positives necessary in professional screen printing environments. Artists can obtain screens, frames, emulsion, and lights separately; there are also preassembled kits, which are especially popular for printing small items such as greeting cards.

Screen printing is more versatile than traditional printing techniques. The surface does not have to be printed under pressure, unlike etching or lithography, and it does not have to be planar. Screen printing inks can be used to work with a variety of materials, such as textiles, ceramics, metal, wood, paper, glass, and plastic. As a result, screen printing is used in many different industries, from clothing to product labels to circuit board printing.