'Victory' by Kipine makes very good use of light in his images, which is no less prevalent in this painting. There is a fair amount of bounce light on the side of the creature's neck, illuminating the downy texture in a very soft light, when compared to the more intense light that falls on the other side of the creature. There is also a little subsurface scattering of light in the eye, causing it to appear almost luminous due to how the light has interacted with the different part of the animal.

      'Glacier' by Sahir Khan is very interesting because of the amount of reflection and refraction seen in the piece. The green colour of the ice adds interest to the piece as well, highlight the subsurface scattering in the areas of what would be thinner ice, due to the desaturation of colour and an increase in value. The piece is also interesting because there aren't really any shadows, as the entire piece is either lit by direct or bounce light.

      'Follow the Light' by Łukasz Wiktorzak uses an "L" frame composition, seen by the foremost tree, which branches up and over the focal points in the piece. This piece could also be drafted into the divine proportions or golden spiral method of composing an image, as the eyes are drawn to the warm, orange light in the lower, mid-left section of the painting, and are led up and around the piece by the diagonals of the boatman's oar and the crocodile's mouth.

      'Panda' by Mazert Young uses a nice compostion, although it is quite hard to discern which category it falls into. I would say that this piece either uses an Iconic style of composition, or the technique called 'the cross'. I think it could be put into the cross because of the way that the piece is split, with dark being painted on light on the right and light being put on dark on the left of the piece. This could also be an iconic composition because of the dynamic upfront positioning of the character in the image.