This was one of the first techniques I learned when I began art school, back in fall ’89.
It was eye-opening. For the first time, I wasn’t responsible for every nuance that came along. The surface dictated what marks were left. Suddenly, I felt a sense of freedom from that burden of decision in art; micromanaging every line, discrediting hours of work based on unsound logic, those things were no longer mandatory.
I never recognized the role this technique played in my development as an image maker. Maybe the school I attended (SUNY Buffalo) was enamored with stuff built with frottage, or maybe it was the current “flavor of the day” in the academic art world. I never stopped using it, though.