Absolutely... I'll try to give you the short story, lest we get kicked off the forum for being "off topic"! First off, all sharp objects on or near my modeling bench must be secured... because painting with acrylics can cause me to lose my mind! As for Polly's, I use my VL (like you, I also have an Iwata HP) and go with the higher pressures of about 25 psi. I thin the Polly with either Windex or Isopropyl at about 80/20, the famous "milk consistency". Use the fine #1 needle and #1 cap and nozzle (inspect the little brass nozzle for hairline cracks...biggest culprit for a ruined VL paintjob). For an overspray appearance (soft edge - blotchy... typical of German aircraft), try this: With mixture and psi above, paint your base colors, in my case RLM 74/75/76. Stick with the tried and true light-to-dark. At that pressure, you will pushing a lot of paint. Keep it moving and get a good solid coat, but not heavy. IMPORTANT: Keep a siphon bottle of household ammonia at the ready and push a bit of it through about every 30 seconds of painting. Also, keep an ammonia soaked toothbrush at the ready and scrub inside the cap after you spray the ammonia. Rembember to do this often, or you will goop the brush, splatter your paint and end up hurting yourself with aforementioned sharp objects. Before you change bottles back to paint, take the bottle-less airbrush and turn it upside down and run all of the ammonia out. Now its back to painting.
Here is the secret for a blended overspray job: THIN LAYERING! After the base coat is on, thin the paint a little more, say 70/30. Now, against all logic, spray light on top of dark! The paint will be thin enough to let darker nuances show through, but solid enough to build up layers of color. Now rotate, dark to light again. For instance, one "splotch" on Galland's fuselage could be 3-5 very light coats of alternating light and dark paint. These coats should not be tinctures (like say, a faint exhaust streak) but paint thinned enough to allow what is underneath ro show through (much like the pre-shading technique)
You see, with airbrushing we tend to want reproduce what a crew chief did in one or two passes on a full size airplane. At scale, this is impossible. We need to layer the nuances on top of the base coat with thin layers. What we are really achieving is a modeler's version of the "chiaroscuro" technique used by the old masters to portray contrast (I digress...sorry). Remember to clean about every 30 seconds of painting. Also, take the airbrush apart for a good field stripping after every session. Don't believe everything you read about ammonia effects on an airbrush. Follow everything up with a soak in clean water and you should be good to go. You may die of ammonia poisoning, but the brush should be fine! Hope this helps. Cheers!