I absolutely, vehemently disagree with the so-called Taylor Way. I've never seen it done like this, not by any other guitarist, or luthier, or laid-out in any instruction book.
First, I don't use wire cutters to pull bridge pins. That shouldn't be necessary, not unless you've pushed them down much too hard to get them level, or to keep a ball end from slipping out of the slot. If either of these things is happening, you need to see a luthier, cause the pins may not be the right size or taper, or could be worn. Get your bridge slotted - use non-slotted pins, and neither of these things will ever be an issue. And if you must use a tool to get the pins out, cover it with something, like a cloth, or a slip might do some scarring. Squeeze too hard, and the pin is headless.
I never, ever cut a string before wrapping it around a tuning post. That makes no sense to me. While it's much less likely to happen with hexagon core strings, if the winding slips on the core, the string will be dead. This is especially applicable to round core strings, which happens to be my choice. I don't "get" this, any more than seeing a player install a set of strings and not clip them afterwards. They might rattle and buzz, or get catch on something when you wipe down the instrument. Just because Dylan did it, doesn't mean that you can play like him if you leave them dangling. To me, it's silly, like wearing extra large pants down around your knees.
What I do - I bend the last half-inch of the ball end, and lock this on the bridge plate. I insert the bridge pins, hand-tight, no more.
I pull the string up through the tuning post ... straight, and not at a 45% angle. I need three wraps for each string, no more, no less. I allow for this amount (about 3/4 of an inch for each turn of the wrap), and lock the string. By this, I mean that if the tuner goes counter-clock-wise to tighten the string, I loop the excess string clock-wise, and under the string. And vice versa with the G, B, and E strings. Then I turn the post, keep the excess string taut, and lock the string with the first wrap. Once the string is up to pitch, I cut it, and bend the little bit that is left down against the post.
Locking the string in this manner will definitely minimize slippage.
I do very little stretching ... just barely enough for the string to hold pitch fairly well. Then I let the guitar sit for a while, so the strings can "settle in". Or in other words, let the cores stretch for a while while at pitch ... overnight, if possible.
The next day, it won't take much playing before a final tune will cause the strings to hold pitch with relatively minor adjustments thereafter.
I think Frank Ford's method, which is very similar to mine, is a far more viable and correct way of restringing a guitar. IMHO, the Taylor method needs to be tossed out a window, unless, of course, you like dead strings, strings that won't hold pitch, snapped bridge pins, and accidental dents in your top or bridge.
That .PDF makes me think that there still is work in the field of graphic arts for recreational drug users.
This is how it is done:
Restringing Clinic - Steel String Guitar
... JTR