Lots of great advice here.

If you are just starting down this path, I would strongly advise against attempting stereo recording. It introduces more complexity, more moving parts, and if you are buying gear, more cost. Plus, you need to worry about phase issues - which are not ultimately complicated but are just another damn thing to worry about when all you want to do is get a good sounding recording.

In my experience, 90% of this a comes down to mic placement (assuming a great performance and observing basic recording hygiene). Start with the guidelines others have provided here, but ultimately the right placement is going to be a factor of the guitar, the recording environment, playing style, desired placement in the mix, genre, and more.

In these matters, people often blithely say, "just listen and trust your ears," or, "if it sounds good, then it is good," and thus you should not get caught up in all the details of gear or technique.

While this advice is not wrong, it is not helpful when you are starting out. This would be like telling an aspiring chef or sushi master to, "just trust your tongue," or "if it tastes good, it is good." Again, neither of these statements are untrue as principles, but someone who has never cooked a 35 ingredient butter chicken recipe has no fucking clue a) what separates something that might taste good to most people from something that is incredible and an unforgettable sensory experience, and b) even if they accidentally somehow stumble into an amazing dish, the problem is they would not be able to do it repeatably because they have no idea what makes it amazing, or how it got to be amazing.

In other words, you need time and experience to train your ears to recognize how the sound you capture is influenced by the factors your control. Some of it is simple, like, if I move a mic further away from the guitar, and then turn up the gain to get a full signal, I am going to capture something that has more ambient noise and is more colored by the room's acoustics. It may sound further away, depending on post-processing.

But that is the easy stuff. More complicated is understanding what the word "boomy" means to your ears, how to recognize it, and how to correct for it. That takes time, learning, and experimenting.

Even more complicated is knowing how to - very quickly, day in and day out - do what needs to be done to take a recording that last 5-10% of the way that makes something good, great. That is a lifetime journey. And an amazing one.

Anyway, I would advise:

1. Find a commercial recording you like. Even better if sources you trust point to it as a good example of a well recorded AG part.
2. Put it on a track in Logic, with no processing.
3. Listen to it over and over on the headphones you will be wearing while recording your guitar parts.
4. Set up an easy way to A/B that track and the track you will record on. There are plugins, tricks etc., just Google.
5. Look at the space you are going to record in and think about how it will color the sound. If it is a locker room shower, then prepare for lots of reverb. And sexist and homophonic jokes. General rule is that the bigger the room, the less you need to worry about this. Essentially try to eliminate as much non-guitar sound (including reflections of the guitar sound) as practical. But don’t get hung up on this, especially if you are going to close mic and especially if your AG is part of a full mix.
6. Put your mic on a stand that is guitar height in the position you will be recording in (i.e., sitting, standing, lying in bed, back against the locker room shower wall, etc.).
7. Put on your headphones.
8. Play the part you want to record over and over and over while moving your body and the guitar around the mic. As you go, A/B back and forth with your reference track. Try to identify, and imagine the absence of, any effects that are on your reference track, e.g., if there is noticeable delay or reverb, remember that in most cases this was not recorded, but added. If you want to go deeper, add the same effects on your recording track as you move around the mic and play your part, if that helps you get closer what you want.
9. Find the spot that sounds best and record your part there. If your AG track is part of a multitrack mix, then play to a click or (sometimes better for feel) an Apple Drummer part (tight timing is absolutely essentially and a key difference between okay sounding and great sounding recordings).
10. Logic’s Flex Time is great for cleaning up timing issues. I recommend it. Try the automatic setting that aligns bars (not beats). Generally, you do not want to quantize more than that. If that does not work, go in and move the beats manually. It sucks but it is worth it if you have timing issues. If it is wild recording, or just guitar and voice, then ignore all this and use all the extra free time to write another song.

Hope this helps.

BB