It's almost certain to sound like a guitar: how close are you trying to get?
The overall size and shape of the guitar do have a bearing on how it sounds: larger boxes tend to have a more 'bass balanced' tone, all else equal, for example. Slight differences in outline within a given size envelope are unlikely to have a major effect. On the other hand, when you're dealing with a design like the guitar, that is both highly evolved and strongly tradition bound, those small differences can loom large.
Wood varies, a LOT. One of the things that sets a really fine maker apart from others, and from the mass of shop/production instruments, is the knowledge and ability to take that variation into account. If you make careful measurements of guitars by the masters you'll find that things like the thickness of the wood vary a lot, not only from one instrument to another, but also from place to place on the instrument. This is particularly true of the tops. Inexperienced people often don't understand how precisely wood can be worked with hand tools by a skilled workman, and often attribute such variation to 'chance', or, perhaps, 'experimentation'. Some of it, maybe, but those old boys knew what they were up to, and did things for reasons. We might not understand the reasons; in many cases they would not have been able to explain it either in a way that would make sense in modern technical terms, but they were not being random either. Copying those variations won't make any sense unless you start out with wood that's just like the wood they used. Now are you going to figure out what that was? I can tell you that appearance isn't much help.
All of this, and a lot more, contributes to the 'sound' of each maker. For better or worse, after you've made a few, you'll start to find that you have a 'sound' as well. In the end, we all tend to build guitars we like, so what you make will depend a lot on what you like to hear.
Making an exact tonal copy of an instrument is at least very difficult, and may well be impossible. Even if you start out with 'the same' wood; pieces cut side by side from a billet, and control things very tightly, it's unlikely you'll end up with two that sound 'the same'. I've tried. It doesn't take much of a difference in the wood, particularly on the top, to make a difference in sound that most people can hear easily.
Then there's the issue of 'playing in'. It's not even totally settled that it happens (I think it does). If the sound of a guitar does change with playing then your new instrument is bound to sound 'newer' than the one you're trying to copy.
So, if you want to make a 'Fleta' sound, it helps to start out with a Fleta model. After you've made a few and start to get the feel of the wood you are likely to make instruments that are more like the originals than you used to, provided you have the character if those originals in your ear. If you managed to get wood that matches the original almost perfectly the best you can hope for is something that sounds pretty close to the original the day it left the shop. Is that a worthwhile goal? Certainly. On the other hand, you may well find that once you get going the charm of 'your' sound, and improving it, will derail the quest for a perfect Fleta copy. That's great too.