The Surrealist art movement lent many revolutionary ideas to the world of drawing, frottage being at the forefront. Presenti's text on the various tenets of rubbings that Max Ernst and fellow artists fleshed out is a helpful insight towards understanding the surreal applications of hidden textures. Bringing forth the textures of planes seemingly dull at the initial glance to the forefront of the composition, it creates a surprising experience for the viewer and a revelatory one for the maker. Ernst and Penrose both make example of the potential within using controlled precision in rubbing out certain areas of the page, with different pressures, to create a fully coherent image. The countless possibilities of these rubbings have led to amazing feats like Xu Bing's rubbing of a tower on the Great Wall of China; a massive project, taking an entire crew to finish. The possibilities truly end with the ambition. And in terms of the legitimacy of rubbings as prints, it could certainly be considered a method. Disregarding the laborious nature of rubbings, it still provides a printing matrix, capable of applying the image to various quantifiable surfaces.