This is my son Sawyer, who was four when this picture was taken. He was sanding out a double neck electric prototype that came through the shop in 2005.
All the materials in the shop have been in a climate controlled environment for a minimum of three years before I will use them. I cannot stress the importance of this enough. Aged wood is key in the construction of heirloom quality instruments.Material thickness is measured in thousandths of an inch with a dial caliper. This Brazillian Rosewood was found it in the corner of a shop in N.H. It had been milled into wall paneling for a recording stutio in the late 60's. 225 thousandths of an inch means that I have no choice but to sand away about half of the thickness.
I carve all braces by hand after they are glued onto the plates. I have braced hundreds of guitars this way. It is a stage in the process that has become very meditative for me. I turn off the music and I unplug the phone. Traditional X-brace on a Mesa model.An oval soundhole graft. What is beautiful on the outside should be beautiful on the inside.This is a Confluence model with a Western Red Cedar top. This is a braced Monarch. The insides to look a little cleaner than the original Weisenborns.
Pictures of materials in my shop patiently waiting to become guitars!
The aesthetic art of bracing a guitar.
Images of guitar bodies during the final sanding steps before finish.
A little look into the binding process.
 click on images for descriptions & a better view 
Fretwork & Nuts & Saddles
All pearl is cut and then inlayed by hand.
My pearl inlays are cut by hand then scribed & routed by hand. 
Here are some images of the bending of a side.