The first step to convincing someone that all these pieces may actually become a guitar is to glue kerfed lining to the soundboard edge of the sides (shown above). This notched mahogany lining curves easily around the bend of the side and is clamped / glued into place with a million little clamps. The kerfing actually provides the gluing surface between the sides and the top and back (side material itself is eventually routed away for binding, and thus makes for an impractical gluing surface).
Once the sides are kerfed, and the kerfing is leveled along the sanding board, the sides are trimmed at their ends and glued to the soundboard following the method described in the book. (Boards are placed along the top to prevent the clamps from crushing the sides, and the opposing side is set in p lace to level the boards).
And the rough final product (note: the sides are over sized and will be trimmed later; the same is true for the overhang of the soundboard).
Next I marked the final contour of the back and planed the sides down to their final height. The height at the headblock is approximately 1 inch lower than at the tailblock, so the back will have a longitudinal arch to it. Once planed, the mahogany kerfing that will join the back plate is glued in place (shown below).
The first step to convincing someone that all these pieces may actually become a guitar is to glue kerfed lining to the soundboard edge of the sides (shown above). This notched mahogany lining curves easily around the bend of the side and is clamped / glued into place with a million little clamps. The kerfing actually provides the gluing surface between the sides and the top and back (side material itself is eventually routed away for binding, and thus makes for an impractical gluing surface).