[3] Based on a forty six inch plaster mold, a three-dimensional pantograph was used to create a rough, hollow framework of the full-size model of the sculpture from wood.

[1] The thoughts that concerned me most in making this statue were the necessities of representing a vital energy, lean physical strength, and a tree-like growth suggestive of the strong roots of character that were growing and manifest as early as his Indiana years.

In the rather knotty and active forms of the body, I have tried to express that, as well as the rough warmth of his frontier humanity and the ungainliness of his bony frame.

Our knowledge of his appearance, on which the popular symbol of Lincoln is based, is from photographs taken after his fortieth year; my face, therefore, is a compromise between the unknown Indiana youth and the pre-presidential Illinois lawyer.

As part of the competition, which was conducted in 1959, the artist was free to choose his own subject matter, location, size of work and whatever material deemed necessary.

There were the following suggestions however: As part of the competition each artist was to deliver a small scale plaster model or sketch of their work and letter of explanation to the Indiana State Office Building Commission located on the third floor of the building located at 309 West Washington Street, Indianapolis, Indiana by no later than Tuesday, December 1, 1959.

Below is a list of artists that an invitation was sent to: The pieces were judged by a jury, chosen by the State Office Building Commission, composed of Wilbur D. Peat (Director of the John Herron Art Museum), Henry Hope (Chairman of the Art Department at Indiana University), A. Reid Winsey (Chairman of the Art Department of DePauw University), representatives of the architectural firms who designed the office building (Graham, Anderson, Probst & White and Raymond S. Kastendieck & Associates), and representatives of Associated Indiana Architects and architects for the Employment Security Building.

[7] The creation of this sculpture was postponed several times due to controversy dealing with funding for this piece and because there were arguments of foul play when the winners of the competition were finally chosen.

He also claimed that at least one member of the committee telephoned the artist, David K. Rubins, after the deadline urging him to submit an entry.

It was also added by Lamm that three of the seven judges on the committee were absent when the winners were chosen and the original sculpture idea turned in by Rubins was not created in plaster, as stated in the invitation letter to the artists.

Many people, including Wilbur D. Peat, Director of the John Herron Art Museum and chairman of the selection committee, brushed Lamm's accusations off as him being a sore loser.

[7] John A. Whitehead, Director of the State Office Building Commission, rejected the notion that late entries were accepted.

The Orchard Area, the upper terrace outside the lobby and the center line of the walkway which extends south towards the Indiana Employment Security Building were some suggestions.

[3] David K. Rubins, a native of Minneapolis, studied at the Beaux Arts Institute of Design in New York and the Académie Julian and the École nationale supérieure des Beaux-Arts in Paris.

[11] Rubins worked closely with James Earle Fraser, designer of the Buffalo nickel and End of the Trail, for seven years in New York.