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so you are to blame. The foreign idea lodges and finds expression. The idea gets worked out. But how to deal with the composition and placement? Keep drawing it until you have what you like. 

The composition is the combined heads of the ladies. It doesn't look like it this early because they're just circles, but in a painting they're detailed faces with black wigs and that black blocking carries the weight. You glance at the picture from a distance and see bobbing black blobs. So it's all about heads and everything else tries to make that look good with rigid parallel lines of arms and soft curvy feminine lines of their bodies. Mostly entirely soft curvy feminine lines. But it doesn't seem that way from the clunky straight line Photoshop sketches. It's easier moving things around in Photoshop than redrawing everything on paper.  You are familiar with painting of ladies paid to cry really hard at  Ramose's funeral?  Their tears are streaming like they're really giving their money's worth. 

Omg, When I looked for an example of crying ladies I saw in results the first plaster  I made. The very first entry on the search [ladies crying painting egyptian funeral ] It's a chunk of plaster with a lady painted on it. A page in a portfolio from Brooklyn museum that I admired a long time ago. I admired it so much Toni gave the book to me. She said her favorite page in the book is this piece of plaster with the lady. I said I could paint that in 30 minutes. And I did. And gave the plaster to her. She pissed herself right there was really excited about it seeing that happen, and I mean it. It launched that whole painting  thing. Unframed. Just a chunk of plaster in the shape of the real chunk. Eventually she ended up with another real painting that framed of another composition. After that Her mother bought my first painting that  I sold. That one was Hatshetsup bas relief because it looks art deco.

Eventually they grace peoples' homes like this and I secure the admiration of my peers.