Large sections of these two landscapes were painted just after the initial wash was applied , while the paper was still wet.
Zooming in on the one with the fence, we can see some of what was done while the paper was still wet. The blue hill has a hard edge where it meets the sky, and a soft edge where it meets the yellow.
Look at the edges of the clouds; some are hard and some are soft.
In both paintings there is a casual feeling regarding edges. In the one directly above you can tell that it wasn't essential for the trees to all be hard-edged or soft. A mix of edges was considered acceptable.
In the backyard painting, above, it seemed important to keep most of the edges hard. Since light and shadow is the main subject, there should be no uncertainty about whether any given shape is sunlit . Keeping the shapes separated with hard edges helps support the illusion of strong light.
Choose one of the photos below and take your time deciding which edges you want to keep hard and which soft. Plan how you'll bring this about.
Remember you can keep the paper wet longer by using lots of water in the initial wash, and you can keep your shapes from feathering too much by using thick paint for the secondary wet into wet strokes.