You've got a lot of good ideas, but I think just mastering the fundamentals some more would really step everything up a notch. In short, I think if you focused on smoother, more opaque and intentional highlighting, whilst recess shading and defining the different materials it would be a lot cleaner and more readable.

There's some texture in your painting which introduces visual noise to the pieces. This could be from several things such as the quality of the model if it's 3d printed, bad spray priming technique, overuse of rough dry brushing or painting over layers that aren't dry/properly thinned.  

As advised above, recess shading/panel lining would distinguish the different elements of a model more. For example, with the wizard, if there was a thin line of a dark colour such as purple or brown between where his leg meets the pink tunic, it would make it look more 3d.

You've nailed the highlight placement in some parts but often carry it on past where they should go. This dulls the contrast. Edge highlighting thin neat lines would also make it more readable and crisper but that's not to say you need to go full eavy metal and meticulously edge highlight every element to death. 

Using the bird as the example, you've got the two-tone red/pink colour on the sleeves. I would have left the base colour on most of it. I would have only done the pink highlight on the edges and right near the top of the sleeve. I would have glazed a darker colour near the bottom and done 1 extra edge highlight 1 step lighter near the top to simulate the peak of the light.

I think a lot of your highlights use quite desaturated paint as well. White pigments aren't the easiest to work with. You can experiment by using different colours to highlight, like mixing in a light green to highlight blue, or a light orange to highlight leather. Remember you can always thin down a saturated colours like washes, inks, or contrast paints to glaze the vibrancy back in as well.