One important consideration when beginning any piece is the graphics of the wood itself. How will the grain pattern and texture or a particular wood, or even a particular board affect the look or feel or the piece? Where will the doors come from? Should the board be resawn for a "mirrored" look, or sawn consecutively for a "wraparound" effect? I spent the better part of a week pulling boards out of the wood room, marking out various parts, then putting them back. I still had the hemlock plank, but was afraid to cut into it. I told this to Greg Smith, one of the instructors, and he told me, "You just gotta commit, man."
After careful resawing, I have a pair of bookmatched boards that will eventually become the two concave doors for the cabinet. Here they are shown clipped together after rough-shaping.
Here are the two doors, still oversize but with mating rabbets (where they overlap), as they relate to the mockup. Although it seems counter-intuitive, the cabinet itself will actually be built around the doors.
Leaving all the parts oversize for the time being allows more flexibility when it comes to determining the graphics of the piece. In other words, the grain pattern of each individual part can be carefully selected to relate to the other parts, and the piece as a whole. This is also the last chance to fine-tune any size or proportion issues that may not have been apparent from the mockup.