With acrylics, I found it to be the opposite. First, acrylics dry very fast--an advantage, in that you can do a lot of work in a single session, without waiting for the paint to dry, as with enamels (or oils). But because they do dry so quickly, if I try to paint an eye the same way as I do with enamels, with a little bit of paint on the brush, it dries in the time it takes to dip the brush in the paint and take it to the figure. If I load up the brush, it's too much paint and it flows all over. My buddy Hershbell (oldtrousers here in the forum) taught me that I'd have to use a bigger brush, albeit with a fine tip, and so, have a little more paint on the brush. But it's like using a brush to write, as in calligraphy.
I practice lines, too, on a scrap of plastic. There's another tip--if you get junk mail with any kind of card in it, like an AmEx mailer with the fake credit card, or other such mailings, save those cards. They make good palettes for this kind of work. And if they're plastic, they are good to use where you need plastic card, like on a model. I use them for mixing 2-part epoxy glues, for testing out paint schemes, for paint cards (showing all the colors I want to use on a figure or model), and it goes on and on.
Anyway, I'd take a piece of card, and practice drawing lines, to get the feel of it.
Also, I don't know about your eyes, but I need magnification now. I need to get close, to see what I'm doing, but I lost close-up focus some time ago. I use an OptiVisor now for this kind of work. Heck, I use it to thread a needle when I have to sew a button back on a shirt. But without it, I couldn't hold the figure close enough to see what I'm doing. I can see the details at about a foot, but that's too far for me to have good control of the brush.
