Get something to practice on. I like to use a pad of watercolor paper but you have to realize the paints will react differently on plastic. It takes practice and, if you don't do it for a while, it takes practice again. So, I practice on paper. It's easier. Let's see, which word did I use too often?
The first step is getting close to what you're painting. As in, needle almost dragging the surface close. Then you can go one of two ways. And both will work. You just have to experiment.
One is to use your paints as you thin them now and use the air pressure you're using now. Or even turn it up a little. Yes, more air can mean more overspray and that's where trigger control and getting very close comes in. But, learning to do it this way will allow you to pull darker lines without making multiple passes.
Second is to turn the air way down and make your paints very thin. Set your air at 10psi or less. Maybe around 7 - 8psi. Then thin your paint till it will spray at this pressure. Thin it until you get a blowout. That's when you shoot paint and it blows out and looks like a spider. Then go back and add a little paint to the mix. Then you know it's as thin as you can go. At that air pressure. Back off your target just a bit and spray a little paint and see if it's atomizing and giving you a fine spray or if there's little droplets in the pattern. If it isn't a fine spray then turn your air up a little until it is. If it is, you may be able to turn your pressure down a little more. That also means you may be able to thin a little more. That's why you have to experiment, to find the limits.
Now, it's all about learning trigger and brush control. Maintaining distance, speed and trigger position. And doing it without getting white knuckles. Keep the brush pointed straight, tipping it one way or the other will cause more overspray to one side. That's something you can use to your advantage but that will come later. First, learn how to keep it straight.
Force yourself to remember this and practice it; air on, paint on, paint off, air off. In other words, always press the trigger down to start the air before you pull back to start the paint and always ease the trigger forward to stop the paint before you release the trigger to turn off the air. If you don't then you may have a blowout at the beginning of the stroke or you may leave a drop of paint on the end of the needle at the end of the stroke just waiting to screw up your next stroke. Depending on how critical what you're painting is you may even go as far as to move the brush away from what you're painting before you start the air for your next stroke. One way around that is to just keep the air on.
Remember to have the brush moving when you pull back to start the paint. If you're getting barbells instead of lines then you're starting the paint before you're moving and stopping moving before you turn off the paint.
I know, a lot of words. But, in PRACTICE, there isn't that much to it. The single biggest thing is learning to control the trigger. And some paints are easier to work with than others.
Tony