The neck block, carved to shape and slotted to receive the ends of the sides.  Guitar Neck Block
Assembling the top to the sides and neck. I used traditional fan bracing on the underside of the soundboard, as seen here.  Guitar Assembly
Here the bindings and purflings around the soundboard are being glued into the cove that has been routed around the top edge to receive them. The binding is a strip of wood that usually matches the sides, and has the function of sealing and protecting the end-grain of the soundboard. The purfling is inside the binding and is purely decorative. It was purchased ready-made, and has yellow and brown segments along its length. Guitar Top Bindings 

The head: shaped, slotted and drilled for the tuning machines. The rest of the neck has yet to be trimmed down and carved to shape.

The decorative shaping of the top is derived from guitars made in the 1950s by Spanish luthier Marcelo Barbero.

 Guitar Head
The back, with its bindings and purfling in place. the purfling on the back is just white/black. Guitar Back With Binding
The bridge in process. The groove for the bone saddle is yet to be cut out, and the tie-block (left) will have a decorative veneer glued on its top. Guitar Bridge
The complete guitar after the first sprayed coats of nitrocellulose lacquer. It really deepens the colour and brings out the beautiful grain in the rosewood. Guitar Lacquered
I did also start a steel-string guitar at one stage. Note the very different bracing arrangement - this is because steel-strings are under a lot more tension than classical guitars. Here the soundboard has been assembled to the sides and back. For some reason, the steel-string has never been finished. Steel String Guitar

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