Fractal geometry in the classical graphical environment has resulted from the author's previous creative work achieved in the technique of deep print. This primarily applies to the prints realised in etching and drypoint. They undoubtedly, with their visual character, indicate the presence of fractal structure by the raster itself, realised by linear networking or the dismemberment of the matrixes. Given that a fractal, as a kind of mathematical process, has repetitiveness for its characteristic – therefore, reiteration of its own (same) elements, here is a link to the author's previous graphic creations unquestionable. All that resulted in the further artistic creative process. In addition to the analysis of the author's work, as a source of research – all with the aim of linking the classic graphic procedure with fractal mathematics (also digital) – the creativity had to be unleashed which found its new stronghold right in the geometrically organised order. Therefore, a diametrically opposite side that is present in the most of artistic practice, the one which is more oriented towards the transcendental knowledge. The attempts were made to hypothetically “reconcile” those worlds and to link them by geometry, which has long been used in the visual arts. The matrix, which is at the centre of the creative process, was used as a carrier of the future artistic achievement. At the same time, visual artistic power of light was studied, and its overall impression on the observer. Also, the suggestiveness of the raster (pixels) was probed, generated by TV signals that were reflected in the black and white flickering dots (popularly identified as “snow”). Finally, we could also speak of active and passive backgrounds, as well as of the movement of the very light beam within a perforated graphic print. The methods and tools used were as follows: Zinc plate, namely a linear raster etched into the matrix itself by drypoint for intaglio (or deep) printing, a hard-pointed “needle” which caved its surface. Furthermore, a technique of mechanical perforating of the plate was used, as well as its breaking into smaller pieces (fractals). Next came the process of dyeing the matrix, wiping it from excess dye, and printing on a pre-prepared (treated) paper. Ultimately, the act of perforation of the very holder of artistic intention, therefore, of paper, followed, with the aim of introducing another dimension, as well as of reinforcing the visual artistic experience. In addition, by the TV signal – namely the raster image (“snow”) and its movement in space, and by the time intervals realised through a perforation of a graphic print, a new artistic and aesthetic experience was created. As a result of this new artistic experience, we have got a print from which we can read a geometric structure of the author's artistic expression enshrined in a fractal shape. The perforation of the graphic print, under which the raster – pixels – from the TV screen “flickers”, creates the overall impression which integrates all artistic (visual) experiences. Do the experiences of the classic graphic environment and fractal geometry pervade here? Absolutely yes, because the essence of fractal energy is used and its forms are transformed into a new form by classic graphical tools, and its artistic laws are defined by the author’s and artistic expression.