Hey man good start. I think you could benefit from using bigger strokes to your work. Don't be so confined unless you're doing a very detailed final piece. It would also help to study surfaces like medal and to see how it catches light and colors. The second one down with the guy and his yellow armor could benefit from it. Right now there's too many light sources. I think you can really set a mood with one definitive cool and warm light source. Right now, I see no cast shadows anywhere on his face or armor.
There's also a big importance with detail. It seems you get fixated on certain areas you like and just put in details while ignoring other areas. (don't worry, we ALL do it) Try and use detail in the foreground and on areas that you want the viewer to focus on. It helps!
You've got beautiful work, i adore your use of colour and environment. But one thing i find is when you apply a subject or creature to the environment, it looks a little pasted or the character looks a bit low in contrast.
Just keep in mind of your light sources, and the resulting shadows. Dont be afraid of contrast and adapting the bg atmosphere and lighting to the subjects. And map out your horizon and point perspective, a bit more maybe..
You probably do this stuff already, but maybe amplifying it would help?
Sorry if that wasn't much help..
By the way, i found your profile through Miles's sketchbook. where you asked him his age, he probably wont have time to answer back to you. He's my age ^-^. He's so busy here, i cant get a word out of him, but he was the one who showed me CA, which i'm super grateful for. So if he can't get back to you don't worry, i'm pretty sure its not intentional.
Of your environments the top one takes the cake, but all of your other environments are really two dimensional. You might benefit from brushing up a little on perspective and then applying your environments to a grid. You can then push your two dimensional designs (which really work decently compositionally) into the three dimensional realm.
You want your repeating elements to help enforce scale and perspective as well. One example of a place where I see this misused is the tentacle piece- you have two shapes floating in the water that look to be about the same. The one in front could benefit from being bigger. I understand that it could very well be smaller than what's floating further off in the distance, but it's the connection that the viewer makes on first glance that's really important.
You could brush up on anatomy to help benefit all of your figures.
"She took the ice cube trays out of the freezer. What kind of a sick bitch takes the ice cube trays out of the freezer?"
Hey Ryan - actually there are a lot of problems that are keeping your work from being stronger - mainly with lighting, perspective and drawing fundamentals. As an example the first landscape just doesn't work - the horizon is inaccurate/wonky, the lighting is off (are there two suns/light sources maybe?) - the arch should be almost in silhouette against the light - the river/falls doesn't have any sense of how those things really work in nature (the lower section is a completely straight line). There are similar problems in each piece.
Anyway, I hope this isn't too harsh - meant to be positive and constructive. I think you have potential but just need to study your fundamentals a bit more and your work will be much stronger for it. Since you seem pretty interested in environments I would recommend an inexpensive book , "Drawing Scenery: Landscapes and Seascapes" by Jack Hamm - a really good little book on landscape principles. Good luck!
What would Caravaggio do?