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The words 鈥減erception鈥� and 鈥渙ptics鈥� often make one think of the dizzying patterns, high key colors, and psychedelic images of Op Art from the 1960s and 70s. However, optical and illusory effects have been observed, recreated, and mimicked in paintings and drawings by artists throughout art history. Consider  trompe-l'oeil, pointillism, optical color mixing, and hyper-realism as examples. Many illusory effects are intended by an artist to accurately portray dimensional space using multipoint perspective as well as modeling shadows, leveraging light sources and chiaroscuro to render the volume of forms and make them almost palpable. Each, a 鈥渢rick鈥� of the eye one way or another. However, there are also times when studio processes and color palettes, alone or in combination with other influences, create unintended and interesting, visually challenging imagery, sort of a process dependent 鈥渉appy accident鈥�. In some instances, it is not a complete image nor what the brain thinks it sees; hence it drifts into perceptual realms whereby the brain perceives and makes sense of what the eye is seeing. Environmental context of the viewing situation, multiple stimuli, and memory are all important influences on one鈥檚 visual perception.