There are instances when wide, bold strokes are exactly what is needed. Action scenes, for example, call for taut, short, quick description to convey the rapid progression of the scene.
Bam! Zowie! He jumped, she grabbed, they stumbled into the dark.Who cares what they were wearing, unless it makes a difference in the action?
Pavlova's too-long scarf caught in the door as the car sped off, choking her, dragging her to the pavement, breaking her neck.Do we need to read of what material the scarf was constructed, or what color it was? Is it vital to the action? If not, seriously consider omitting it.
When the scene is calm and reflective, bring the tiniest brushes into play.
Verdant leaves dappled with golden sunlight shimmered, dancing with a flirtatious breeze. Freshly cut grass scented the air that lazy afternoon.Do you see a picture in your mind's eye? Good. Then move on to other elements of the scene or what happens next.
For me, over-description kills my interest. As you may surmise, I've recently dealt with a book written in this style. This author took about sixty pages to actually get to some sort of event. The story had a fascinating premise, but wasted my attention describing every room, drapery, and pillow. If the words, "I don't care" pop into my head, I normally close the book and shelve it. Since this was someone I know, when asked how I liked the book, I was gently honest and said that I still haven't finished it because it became a chore to wade through so much description. Evidently, I was not the only person to say this because this book is no longer available. [This is one more reason those who want to independently publish need to invest in hiring real editors, but that is fodder for another blog post.]
Keep your descriptions pithy and robust, and like a deliciously rich chocolate truffle you'll find less is definitely enough. Taking too much time describing surroundings can distract and confuse your reader, much like a long-winded conversion ends with "What were we talking about again?"