Using and mastering these types of 'lazy' techniques doesn't make you less of an artist.

I would rather
argue, that if you know how to use this well enough, you have become a better artist. If you know the
implications of leaving things vague, such as creating depth or changing the main focus of your work, you
can use them to your advantage. Depending on the style and message you're going for, photo-realism is
perhaps not the most important aspect of an artwork, especially in an era where we carry portable
cameras around everywhere and can take a picture of whatever we like at any time. While photography
is an art of its own, what is your interpretation of the object/character/scene?

In other words, you don't even have to be an expert on landscapes, foliage, perspective, buildings, etc. to
come up with a good background! Don't hesitate to experiment!

5. Building on your sketch

Now you've laid out the base and learned how suggestion can be a powerful tool, it's time to
transform your idea into a final product. One of the reasons that you shouldn't get too attached to the
sketch, or shouldn't be disappointed if the sketch doesn't look as spectacular as you had imagined it, is
that it is a base, and not a final product. Creating backgrounds is a process, with learning moments,
sudden ideas and revelations, struggles, problems and solutions.

The part that brings your background to life the most is adding depth through light and shadow. Keep in
mind the light source that acts on the character and think about how it will affect the objects in the
background. Add highlights and shadows accordingly, and your background will instantly look more '3D'.

endering refers to paying attention to textures and structures of objects. Remember those references
you gathered at the start? Now is the time to use them! (And probably find out you don't have enough
and have to find more :'D ) While you've figured out the general light and dark areas previously, it is now
time to think about how certain materials interact with light. For example, some surfaces like metal are
very shiny, while some fabrics or untreated wood react to light in a very different way. If you're not sure,
look up some more references and/or tutorials! The more practice you get with this, the easier it will
become.

And again, think about the power of suggestion. The viewer probably has a good idea of what the
grass you're drawing should look like, but more importantly, the viewer knows what it shouldn't look like,
as well. It's more pleasing to the eye if something is left more up to suggestion, than defined in an
incorrect or unnatural way.