Buildings can be complicated subjects that easily trap the unwary artist. In my experience, there are a couple of approaches you can take. One is to paint the building accurately, with precision geometry and a deep understanding of perspective, the other is to paint them loose, with only a moderate understanding of perspective and geometry. In the first instance, if everything is painted with straight lines and perfect perspective, there is not much left to engage the viewer's imagination and that leaves a vulnerability if something doesn't quite look right. Any slight oversight will immediately flag up as odd, for example a doorway out of square or a
