In painting lace or figured muslin, the principle is the same

In the same way the sleeves are painted, laying in a general tone with the colors used for painting the flesh, but making it lighter and grayer, as for the neck. After laying in the effect of the muslin over the flesh and silk in this simple way, the presence of the muslin is further made apparent by painting at the edges of the shoulders, arms, and other outlines, a soft line of light gray so light as to be almost white, and entirely uninfluenced by the color beneath; this is dragged a little over the undertone and softened till it gradually loses itself, while remaining clear and sharp at the outside edges.  A few fine sharp white lights are also put on over the tones already laid in both for the neck and bodice: these are to indicate the folds of the muslin.

In painting lace or figured muslin, the principle is the same; the general effect is laid in at first in the simple flat tones already described, the details being entirely left till a later painting, and the  folds being indicated exactly as if the material were plain transparent muslin.

The pattern of the lace is finally painted thus: take up a part of the lace which is the most prominently seen, and carefully draw in detail with small brushes the outline of the figures, using the first painting as an undertone, and putting in the high lights in the form of the pattern, while directly under each light look for the sharp dark accent of shadow which defines it, and paint it in with the small pointed brush.