No, that's cool. I do not feel hi-jacked...
It is a page about 9" x 12" with a specific tone or pattern (like pointilism or hatching). The pattern or tone is printed a certain point size (large and spaced wide to small and close together that will determine the tone (value, lightness/darkness) of the area you want to fill. The pattern is printed in black on clear thin film with adhesive backing and it is adhered temporarilly to a slick paper.
So, if I have a area I want to fill with a dot pattern, I take my zip sheet and place it over that area and then use an X-Acto blade lightly to cut out an area that is bigger all the way around. I peel this cut shape off of the Zip sheet and place it over the area on my art. I do not press down too much to allow me the ability to peel it back up if need be. I then cut the area precisely so it looks as semmless as possible and lift the remaining zip and place it back on the sheet for later use. Then I take a piece of paper and place it on the Zip I just laid down and use a blunt tool or burnisher to smooth it out and make it stick well.
It is not wat you thought Brad, but your idea is pretty cool. They use to have dry transfer pattern that was unpredictable and you would transfer it by rubbing it onto the page with a burnishing tool. The results would usually be random and not uniform. I have some of this that I use from time to time to create texture that I want to be rough and that I can go over to create interesting gradations.
Anyway, that's the process and how it is done. It's clear adhesive film with a pattern on it.
Other good tools for creating good texture that is not uniform are small spounges, toothbrushes for random splatter dots (good for stars with correction fluid) and a China Marker (these are basically grease pencils and give you more control to create a dry brush effect). Dry brush is good, but it's hard to get the same effect when you have to do more than a small area. It also can destroy a good brush.
They gave an exercise in inking class where we had to use whatever we thought would work that wasn't an existing inking tool. I used toothpicks, twigs, dry hard grass, shoelace tips, what ever and some worked and some didn't. But it's only limited to what you allow yourself to work with. Experimentation is important to find techniques and effects that will work for texture in certain instances.
Enough with Zip and Ink 101...