Got some pictures

L's guitar.  Tentellones glued in

L's guitar from top.  Bridge is just sitting.

Here are some pictures I think you'll find interesting:

L's guitar, armrest prototype

A lot of prep work and then a long day on my feet planting tentellones, one-by-one around the perimeter of the top and sides joint.  Tentellones are the little individual lining pieces you see in the shot of the inside.  This is the traditional way of attaching the top to the sides.  I use hot animal hide glue to attach each one, holding it in place for about 10 seconds while the glue gels.  The neck was also glued onto the top and will be trimmed and sanded to shape later,  The armrest prototype is made of brazilian rosewood, as is the bridge.  I spoke with Richard (the guy to measured and drew the plan for this guitar ) about the armrest and he said the best way to make and attach this is to shape it to the curve of the lower bout where the arm normally rests on the edge of the guitar.  After shaping and smoothing it to produce a more comfortable rest for the forearm, it is attached ( believe it or not) with double sided tape.  Now, this is guy who gets $20,000 for one of his guitars, so who am I to argue?  He said that it has the least affect on the sound of the guitar and is removable (very carefully) and modifiable.  He cautioned me not to try to build it in because it would most likely be difficult and would affect the sound and put unwanted stress on the top.  Remember, this is a flamenco guitar.  I brought it home and everyone was amazed at how light it is.

Next steps (in no particular order, mostly):

Make and fit the fretboard ( I must decide on the width of the neck at the nut and the bridge to make it the most comfortable to play.  I'll discuss this off-line.

Cut fret slots, install frets.  I haven't decided whether to put the frets on before gluing on the fretboard or after.  I've seen people do both ways.  Dress and polish frets.

Install head plate and perhaps a back plate.  TBD

Install lining for back.  Fit back and braces in place.  Sand with braces in place without back to produce spherical back shape (very subtle).  Glue back to braces, but not to linings.  Once this is done, the back will be trimmed to size and can be taped in place to allow testing and voicing of the top.  This is what I've been working up to with all of the sound testing of tops etc.  This will be done with the back taped on, and after it is glued on to assure that the sound does not change.

The tuning pegs, which look like regular cello pegs, are actually geared.  These will be installed very carefully.
In addition to a bunch of sanding and prep work,  the guitar will be ready for finish.  This will be discussed with my new acquaintance from Indy Craft and we'll decide on the best finish for each the top and the rest of the guitar.  It is possible that I will french polish the top.  This is TBD. 

Embellishments may be added beyond the usual binding and purfling TBD  As a flamenco guitar, el golpeador is tradicional, do we install one?  (secret:  this is the tap plate that flamencos use to protect the top).

Sounds like a lot?  It is, but it will prodeed apace.  No predictions on completion yet, but it will be a box pretty soon.

And, Oh Yeah, Strings...imagine that.  I'm gonna ask a friend to play and record a few pieces on it.

Meanwhile, back at the bench, the BRW for C's guitar was cut to the appropriate size for jointing, which is going on now.  I'll glue the two bookmatched halves together soon, install a back strip and cut to approximate size for thinning.  Thinning to be done by hand and by Grizzley.  Same with the sides, which when thinned, will be bent to shape.  The neck scarf joint and heel stack is being prepared for glue-up...almost as painstaking as joining the two halves of the top and back.

Being as opposite from a neatnik as is humanly possible, every horizontal surface in the shop is covered with tools, gadgets, stuff and more stuff.  Next on the agenda:  CLEAN THE BLOODY PLACE UP.  Any volunteers?

All for tonite,

G'day