Virtual Reality (VR) has brought with it new possibilities in storytelling, alternative approaches to building narrative structures, and unique ways of creating immersive experiences. Meanwhile, a relatively new possibility which has become available thanks to VR technology is the application of VR in digital painting, illustration, 3D modeling, and animation. Recently introduced VR-modeling applications such as Oculus Medium and MasterpieceVR provide 3D artists with the possibility to create 3D models directly inside the virtual space through an intuitive spatial interface. In addition, with Virtual Reality, digital Painting on 2D canvases is now extended to 3D spaces. VR applications such as Google Tilt Brush allow artists and digital painters to unleash their spatial imagination and draw in 3D space. In a similar fashion, Quill and AnimVR are virtual reality applications that allow artists to create 3D animations without the need to deal with the usual technical processes of 3D computer graphics. This article argues and demonstrates that these recent developments are giving rise to new visual aesthetics, creating unprecedented aesthetic possibilities for artists and animators. Focusing particularly on Quill and AnimVR, the article discusses that these two relatively new VR applications are re-defining the aesthetics of 3D animation by bringing 2D aesthetics to 3D computer graphics. With reference to three recently produced animated short films this article explores different ways VR technology and applications such as Quill and AnimVR are influencing animation workflows and production pipelines. It further explores how these new pipelines are giving birth to new and unprecedented aesthetics.