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Now, imagine a shape where as you crank up the magnification, that sort of "misbehavior" is replicated: You've got yourself a true fractal. A perfectly straight line has fractal dimension equal to one, while a square region has fractal dimension equal to two. Nature is generally somewhere in between: the coastline of England, the waves within waves of a stormy sea, the branches within branches of a fern leaf, our own circulatory or pulmonary system, or as it turns out, the skeins of paint in a Pollock drip painting. That is Taylor's discovery. When Pollock so famously said, "I am nature," or that "My concern is with the rhythm of nature ... the way the ocean moves," he was possibly closer to the truth than anyone gave him credit for and probably closer than he knew himself. Taylor has examined many of Pollock's works and found a remarkable degree of regularity in the fractal dimension that can be computed by examining different color layers in the paintings. Firstly, what is remarkable is that Pollock could regularly achieve fractal structure. Taylor's personal attempts at such a result were only successful when he came up with the idea of hanging a bed sheet from a tree and allowing the measurable fractal nature of the wind to be realized in dripped paint blown onto the sheet. Even more, there appears to be a fractal dimension to Pollock's work that is characteristic of a given period, so that Pollock did, over periods of time, reliably reproduce in his work a small range of fractal dimensions. In fact, Taylor claims even more, that in his examinations he finds evidence for two distinct fractal dimensions as might be predicted by a documented two-step working style in which Pollock would lay down a broad under layer to which he would later add detail. 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