This is the kind of education the world needs more of. Over 17 weeks in Spring 2025, a class of undergraduate art students at Southern Arkansas University turned blocks of wood into fully playable electric guitars. Not through lectures. Through making. Fifteen students. Fifteen one-of-a-kind instruments. One remarkable course that proves hands-on learning, real craft, and genuine fun can share the same classroom.
The course was ART 4073 Guitar Building, offered by the Department of Art and Design at Southern Arkansas University. This is what makerspace-style education looks like when it is built around a real outcome. Every student walked out of the class with a guitar they designed, shaped, finished, and wired themselves.
Why this course matters
This is what modern education should look like. A 17-week program that weaves the history of electric guitar design into custom ideation, into woodworking, into finishing, into final electronics setup, all inside a single undergraduate art class. Theory and practice taught together. Research and craft fused in a way that keeps students engaged through every stage.
Courses like this are rare. Most universities teach woodworking, art history, design, and electronics in separate departments. SAU brought them together around a single tangible project, and the students rose to it. That is innovative, project-based education at its best. It is fun. It is rigorous. It leaves a lasting mark.
These students will carry these skills into whatever they build next, in their art, their craft, and their careers. That is the real measure of a great class: not what the students make inside the room, but what it prepares them to make after they leave it.
Full credit to the instructors and to Southern Arkansas University for designing and teaching a course that proves it is possible.
A special thank you to Nathan Lambert who shared photos, updates, and feedback with us throughout the semester and made it possible for us to tell this story.
The curriculum
Every student moved through five connected stages:
- History and research – learning the evolution of electric guitar design and iconic silhouettes
- Ideation and design – sketching concepts and translating them into working plans
- Building – shaping bodies and necks using bandsaws, sanders, rasps, and routers
- Finishing – sanding, sealing, and applying paint or stain to create a custom look
- Setup – wiring, installing hardware, and adjusting action for playability
Each guitar passed through every one of those stages. The class was not just about building. It was about creative ownership, craftsmanship, and voice.
The exhibit
The finished guitars were shown at the SAU Electric Guitar Exhibit, where each instrument stood as its own statement.
What started as identical blocks of wood became fifteen completely unique instruments. Bold colors. Sculptural body shapes. Classic burst finishes. Hand-painted flames. Laser-cut wings. Each one carried the personality of its maker.
Meet the fifteen builds
The full exhibit is extensive. Here is a taste of the creativity on display, with each builder and their guitar.
“Gobstopper” by Emily Stanich
A playful blend of metal and pop. Asymmetric body, confident pink and silver finish, oversized pickguard. A brilliant example of how creative vision meets hands-on skill.
“The Fabricator” by Lakken Caffey
Wrapped in plaid. Inspired by fabric patterns, with an offset body and a matching plaid headstock. Clean wiring, thoughtful controls. A totally original look.
“The Astronaut” by William Ashcraft
Sleek and clean. Black and silver burst finish, classic silhouette, impressive restraint. Proof that well-executed fundamentals stand on their own.
“Alma Cósmica” by Rory Lowther
“Cosmic Soul” in Spanish. Deep black, minimalist Tele-style body, subtle curves. Understated and refined.
“Lucifer” by Lilly Smutz
Bright blue finish with hand-painted flames. Bold, loud, and unapologetically cool.
“Belle” by Gavin Nussey
Matte black with a dramatic double-horn cutaway. Gothic flair meets clean craftsmanship.
“Glitoris” by Lilly Henry
Sculpted flame-like body, candy-pink gradient finish, heart-shaped pickguard. Bold design with serious build quality.
“The Daydreamer” by Mtende Moyo
A dreamlike, abstract painting wrapped across a custom-cut body. More living canvas than instrument.
“Icarus” by Allison Parker
Winged extensions and layered feather details. White and gold with blue accents. Sculpture and storytelling in one build.
“Scintilla” by Monet Coppersmith
A showstopper bass with a shimmery green-blue finish and a mirrored claw-like lower horn. Cosmic warrior energy.
“Hope” by Alyzia Devereaux
Soft pink with red fretboard dot inlays and a Hello Kitty graphic. Playful, personal, and polished.
“The Amoeba” by Madeline Reynolds
Marbled purple finish, organic flowing shape. Psychedelic and original.
“Leto” by Gabrielle Nelson
Natural wood grain with carved illustrations of feathers, birds, and a wolf. Quiet confidence.
Untitled build by Jonathan Parker
Clean classic Telecaster-inspired design. A masterclass in restraint and precision.
“The BUG!!” by Jade Dillard. Insect-inspired angular body, matte green finish. Sci-fi and sharp.
Which build is your favorite?
Scroll back and take another look. Each of these fifteen guitars started as the same block of wood, and each builder took it somewhere completely different. Tell us in the comments: which build speaks to you the most, and why? We love hearing how different designs land with different readers, and so does every instructor and program lead who stumbles across this post.
A celebration of creativity and craft
This exhibit was more than a showcase of student work. It was a celebration of imagination, patience, and hands-on learning. From bold artistic statements to refined traditional builds, every guitar reflected the unique vision and voice of its creator.
Not every student will go on to build more guitars. But every one of them will continue creating, designing, and shaping the world around them in meaningful ways. That is what a class like ART 4073 leaves behind: not just instruments, but builders.
To the students of ART 4073: your work is a powerful reminder of what is possible when craft meets passion. To the instructors and to SAU: thank you for investing in a course like this. The world needs more of them.
Are you an instructor, professor, or program lead?
If you run a high school, university program, STEM summer camp, or local community workshop, and you want to bring a guitar-building project like this to your students, we would love to hear from you.
We work with schools, universities, and summer camps to make hands-on guitar kit programs happen. We also partner with local luthiers who host our in-person workshops, and we can help you bring something similar to your community.
Email us at [email protected] with a short note about your school, your program, and what you would like to build.
Read the full story
The complete blog post with every student build described in detail:
SAU Students Turn Blocks of Wood into One-of-a-Kind Instruments