In my mind it comes down to a combination of dedicated craftsmaship and good old fashioned intuition. The study of the great masters like Michelangelo, Rubens, Pontormo etc. has certainly helped me alot in having an in-depth understanding of shape, weight, direction and intent, even fairly recently prooving to myself that new aspects of my drawing ability can expand (one can always learn). But since I'm a classically trained 2D animator I can't deny my roots of inspiration in the likes of the great Disney animators - Milt Kahl, Frank Thomas, but also Hayao Miyazaki and the phenomenal Richard Williams. All great storytellers, all skilled draughtsmen with a purpose in their work. Their drive is character and story, and animation is the medium to manifest it with. In my case animation style is practice, experience, research and above all observation. Study what others have done, and then do your spin on it. I do believe that you can't flip good animation style, you have to know your craft... And you have to know it well in order to break the rules, if you want some sense of believability in your animations that is. Though usually when I get inspired by someone, I always tend to do my own thing, somehow it's not as rewarding for me to copy other's work, as doing my own. But the thing is that there is a lot of skilled artists out there, that have boiled some techniques and working methods down to a very compelling statement, making you aware of what kind of quality and quantity exists out there.
I futhermore think that patience vs. impatience is (like so many things) a not only but also. If you want to animate a simple straightforward character, then that is what you want to do. If you feel like animating a massively detailed character then why shouldn't you? It all comes down if you can draw it or not.
If I where you I would study the principles of movement, spacing, shape, dimension, character, empathy and how, when and most importantly why to choose to do what you choose your character to do. I believe that a skilled artists doesn't have any restrictions, the animation medium is 100% percent flexible... Use it!
If you look at some of the most memorable 2D characters, like Cruella Deville from 101 Dalmatians, you will see that the line isn't all that neat (due to the xerox copy of the animators original drawing) imperfections shows up in the line, smudges, semi-scribbles and even the occasional construction line flashes by. But it is the sense of character integrated movement that sparkles the imagination, the illusion of life that is. You can't have the one without the other. Lines depicts masses, they are only a small piece of the puzzle. It is the wholeness that you want to express, sure you can break everything down to a beat or a stroke, but you must not forget the big picture, the general audience wants to feel the characters, not examining a fancy made skin-fold that is only seen for a split second... Even though that shouldn't stop you from making that fancy made skin-fold, if that is your thing.
I also believe that story and form is inseparable, you can't have one without the other, there the not only but also comes into gear. In my mind there can't be any story if it isn't manifestated in one form or the other, and vice versa meaning that each given stroke should have a purpose of some kind, being it an indication of a horizon line, or the subtle outline of an elbow resting on a table. Understand your material and then give it purpose and meaning. In that sense you should also be in the possesion of a patient mind, since it isn't always in the first try one has absolutely succes. In my experience there isn't no easy way, it's hard and dedicated work, but if someone is passionate about it, it will feel like an endless stimulative process, that is highly rewarding when one gets it right, and even when it goes wrong, cause then you want to know why it didn't work like it should, and that learning process will become gradually more structured and intuitive the more your craft sinks into your bloodstream and nervous center, allowing yourself to express whatever you want. I clearly think that style is purely subjective, and all a matter of taste. But one can gather a library of knowledge and then choose to use it when ever one wants it, and that can be a huge advantage for an artist being able to "bend" his or hers style essence.
what I have shared isn't something new, alot of the things like practice, knowledge, character, story and passion gets repeated endlessly in various versions, and that goes to show that there must be something about it. It's all up to you how you use it.
I absolutely believe that in order to accomodate any of this, you must have a serious and open mind, and have the curiosity, will and urge to learn. And showing your vulnerability, letting all arms fall asking an honest question, makes one very susceptible to new information, and I think that is a very admirable personality trait to be the beholder of, and in my experience that alone can get you very far.
