The next stage was the creation of a mold that enabled the casting of the statue. The mold makers first cover the finished clay sculpture with a release agent, followed by several layers of latex rubber. To complete the mold, a thick shell was created over the latex using plaster (or a substitute material). This was then reinforced with supports to maintain rigidity. Depending on the complexity of the composition, a mold can consist of anywhere from two to several pieces that must then be reassembled in order to pour the final casting. In this case the mold consisted of three pieces. Careful planning of the seam lines of the various sections was necessary to keep them as inconspicuous as possible when the sections were put back together.

To begin the casting process, the inside of the mold pieces were covered with a thin layer of gel coat, which is a mixture of marble powder and binder. The gel coat formed the finished outer skin of the statue. This layer was then reinforced on the inside with a one to two inch thick layer of fiberglass resin. When cured, the various sections were joined together by lining up numerous register points, or keys, that were built into the mold sections to assure precise realigning. The seam lines are sealed from the inside of the hollow statue. Once fully set, the mold pieces are removed and the resulting full scale sculpture is revealed. The statue is then ‘chased’ by the artist. This is where the inevitable lines resulting from the joining of the mold sections and other inevitable imperfections were removed, filled in, and resculpted to produce a finished sculpture that is ready for viewing.